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Rather than being really good, Matějovský's Solitaire is interesting. It is an attempt at an absurd drama of a closed community caught in a trap with no escape, where the actors are gradually killed by despair and cabin fever. It is also remarkable for its top-notch cast and corresponding performances. However, what brings it down is the artificiality of the situation and, above all, Hubač's script, which rushes the moods and reactions of those involved and definitely doesn't take advantage of the potential that this model situation offers. The most interesting character is probably Rudolf Hrušínský, who demonstrates how a guide can quickly become a guard and manipulator. His performance would be a highlight of any psycho horror and reminds one of Mr. Kopfrkingl from Herz's The Cremator, who also transformed into a monster under the pressure of circumstances. It didn't take much for him to achieve it, and fear can be seen in Hrušínský's eyes and posture. The black and white camera and stone walls create a feeling of gloomy atmosphere that dampens any positive emotions. But I must repeat, overall I got the feeling of a certain incompleteness, and although this wouldn't be bad as a theater performance, I expect a little more from a TV movie. Overall impression: 60%.

Within its genre (namely crime thriller) and the film era of the 80s, The Seventh Target is undeniably an above-average film. Nevertheless, enthusiasm is not warranted. Although the screenplay, in terms of its objectives, generally functions well and the individual scenes evoke roughly the emotions intended by the screenwriter, there are still moments where it feels strained. And unfortunately, this is most evident in the climax , when the story moves to Berlin and the tension is supposed to peak during a car chase through the city streets, in close proximity to the Berlin Wall. Lino Ventura was an experienced matador of French cinema and a seasoned professional. His favorite stylization as a tough guy who doesn't really need the police to restore order and protect his rights is limited by his age here - after all, Ventura was nearly 65 years old during filming. In a scene where he takes down a gang member roughly half his age, one cannot help but be reminded of Clint Eastwood in Gran Torino, as the frail old man delivers a beating to a gangster two generations younger. Overall impression: 70%.

Whatever Works is essentially a malicious film. Woody Allen, as an atheist and typical urban liberal in the American environment, and significantly on the left, has always been at odds with social conservatives, religious fundamentalists, and generally those who lean toward the opposite side of the political spectrum in America. In a number of films, this view of his can be clearly traced, and here and there he cannot resist making sarcastic remarks. However, this is the first film where he subordinates everything to his perspective and the religious zealots get a nice beating from him. Woody settles his account with them from the time of his divorce from Mia Farrow and the painful battles over their children. At that time, the conservative press discussed his life in a very distasteful manner, and the tabloids delightedly savored the details of his extramarital affair. In this film, which essentially has a very simple plot, Allen depicts how the façade of hypocrisy typical of a conservative Southern family quickly dissolves in the open-minded environment of New York. The mother discovers her hidden bohemian character with artistic inclinations and sexual hyperactivity, the respectable father admits his homosexuality to himself and his surroundings, and the daughter embarks on a journey with Allen's alter ego in the form of the pathetic spoilsport portrayed by Larry David. Woody Allen also takes shots at himself here because his embodiment is a symbol of skepticism in life and contempt for society. Within the framework of what the hyperactive Woody has created in the last decade, this is one of the best films that exudes the energy typical of Allen's youth. Overall impression: 85%.

As a drama of an aging man searching for an opportunity for sexual indulgence and finding his last true love, it deserves 5 stars because Penélope Cruz and Ben Kingsley belong to the elite of their acting generation and Isabel Coixet knows how to film it with elegance and sensitivity. As a film adaptation of Philip Roth's literary work, however, it barely reaches three stars. Personally, I haven't read the book but I know other books by Roth, and if he wrote like Isabel translates, he wouldn't be considered one of the greatest, if not the greatest, American novelists. It lacks bitterness and selfishness, and it lacks that dark side of a partnership. Only romance remains, the tragedy of unfulfilled desires and serious illness. Overall impression: 75%.

After 5 minutes, I knew that this film would not be my cup of tea, and after 10 minutes, I realized that I was genuinely suffering. Nevertheless, as a typical weakling, I endured for another half hour, only to finally understand that every additional minute was an unequivocal waste of time and that there are plenty of more interesting activities in the world, starting with sex and ending with delicious food, to which I could give preference. Actually, anything deserves preference in this case. I could elaborate on the comic book aesthetics but it is influenced by a series of films that really appealed to me. I could go on about how this is a film aimed at the young generation, but so was Misfits, and I had a great time with that series. The best adjective to describe Scott Pilgrim is adolescent. Adolescently directed and tailored for teenagers. Furthermore, it is based on a stereotype and subsequently becomes boring. It had nothing to offer me, but undeniable professionalism compels me to give it one star. Overall impression: 25%.

If a film on FilmBooster has less than 60%, it usually doesn't bode well, especially when many comments don't hide their uncertainty. Yet in the end, I was pleasantly surprised. I consider Lungin's film significantly above average within its genre and it overwhelmingly surpasses many more famous and esteemed genre films that merely play with the label "historical." The trouble lies partly in the fact that Lungin is not very accommodating to his viewers, he doesn't explain things and throws them straight into the deep water. He also shows viewers something that doesn't sit well with some people - that Russia during the reign of Ivan was very different from what Western and Central Europe experienced. While the Renaissance was flourishing and manners were becoming refined, in Tsarist Russia, the ruler's power was only consolidating and the empire was starting to be built. Through brutal massacres, widespread violence, coercion, fear, and manipulation. Conquests and consolidating power were carried out in a way that was not far off from genocide. The extermination of whole families, communities, and ethnic groups was more of a norm than an exception. Lungin tells the story of the conflict between the ruler's power and the intellectual opposition of a prominent church representative. A story that we also know in a lighter version from Beckett's theatrical and film versions. I consider the depiction of medieval Russian realities and contemporary religious zeal, as well as the performances of the actors, to be very good. The editing is worse, which is confusing, especially in the crowd and war scenes. As for the set design, it is naturally limited by Russian capabilities, which do not reach those possessed by large American studios, but there is still something to see here. Overall impression: 80%.

Cadillac Records tells the great story of African-American blues and the beginnings of rock 'n' roll, depicting the events surrounding those who were the first to truly break free from the fate of the African-American ethnicity and emancipate themselves through success in show business. It is the success of the first African American stars, who have made their mark in the consciousness of the widest audience and left their imprint in music history, including their scandals and extravagant lifestyles characteristic of those who have risen from nothing. For a viewer who doesn't care about this music, the movie will be of no interest. For a fan who loves the soundtracks of the 50s and 60s and knows the names and biographies of famous artists of that era by heart, Cadillac Records doesn't really have much to offer either because a knowledgeable viewer will likely quickly notice the superficiality, unfinished characters, and overall average screenplay. Rather than an exciting ride into the pop past, Cadillac Records, directed by Darnell Martin, is simply an illustration of the events surrounding one record company whose owner had the intuition and courage to break societal taboos and appeal to a different clientele. American critics brutally tore the film apart, but Cadillac Records is fine for a one-time watch. As it is well known, critics feast the most on what is expected to deliver a lot and involve well-known names. The truth is that Beyoncé is not and will never be a good actress, and Adrien Brody may have charisma, but he doesn't have much to work with; nevertheless, it easily deserves 3 out of 5 stars. Overall impression: 55%.

When in the late 1960s a group of six university intellectuals came up with the project Monty Python's Flying Circus, they were able to completely overturn the idea of what a television comedy should be and began deliberately making fun of the British establishment, often using explicitly crude elements such as sexual innuendos, insults, and borderline absurdity. After this revolution, it became very difficult to surprise anyone, even though many tried at regular intervals. I appreciate these attempts more or less, but the truth is that only the League of Gentlemen managed to amuse me to such an extent that I was able to put them on the same level as the former legendary six. Although not as experimental, the quartet of comedians associated with the League of Gentlemen project is unafraid of having a point and much more frequently utilizes classic gags, but it is equally bold, provocative, and simply good. Similar to the former Monty Python, this group is not afraid to perform in female roles and brutally take each other down. In their portrayal, a provincial English town transforms into a horrifying trap for all unwanted visitors, and essentially everyone there is unwelcome. As the sign on the local store says, this is a shop for local residents. And if you enter, it is only at your own risk... Overall impression: 95%.

In a short time, this is already the second film by Claude Sautet that I had the opportunity to see, and I have a feeling that Mr. Sautet will receive the nickname Snake Charmer from me. I feel like someone who goes for a visit and knocks, and nobody opens the door. The film didn't communicate with me and I wasn't able to penetrate into it at all. I can talk about the charms of Emmanuelle Béart, or about the mature acting of Michel Serrault, but I actually have nothing to say about the film itself. It was completely pointless to me, just like its characters, their dialogues, and everything happening on the screen. After a few dozen minutes, I started reading old newspapers thrown on the table out of boredom, desperately searching for something that could snap me out of my lethargy. That film is not trash, and it's not poorly directed, but it's just desperately uninteresting to me. Overall impression: 25%.

By pure chance, I saw Sweet Charity just a few days after watching Fellini's Nights of Cabiria, and I had the unique opportunity to compare both versions of the same story while they were still fresh in my mind. Usually, when assessing a remake or an original, you end up comparing films that you have seen with a longer time gap, often even several years apart, which inevitably leads to distortion. With knowledge of the work of both filmmakers, I was convinced that Bob Fosse would teach Fellini a lesson on how to make a film attractive to the audience without sacrificing its narrative value. Bob Fosse's background was shaped by Broadway, with its relentless demands for attractiveness and commercial success, so Fosse had perfectly learned how to sell his work in the most appealing packaging. Moreover, he represents an undisputed peak in his genre, and not only in the United States. As for the main role, even here, the American version had all the prerequisites to succeed better because, with all due respect to Giulietta Masina's acting, Shirley MacLaine is in a different league in world cinema. Surprisingly, both gentlemen ultimately came out of this competition undecided. This is partly due to the studio-driven tendencies of American production, which traditionally smooth out the edges of potential controversy, turning a cheap, uneducated prostitute into an honorable dancer, but mostly due to the screenplay, which somehow dilutes the potential of the theatrical source material and the story gets lost. To claim that Bob Fosse only plagiarizes his successful hits in terms of dance and choreography is nonsense because Cabaret and All That Jazz came much later. Rather, it is that Bob Fosse was still searching here, lacking sufficient experience, and the result reflects that. A few dance numbers in the first half of the film are worth seeing, but in the second half, you wouldn't guess that you are watching a legend of musical direction. Overall impression: 55%.