gudaulin

The life of a hired killer is undoubtedly demanding in many respects, especially if you belong to the top and they exploit you accordingly. Constant stress takes a heavy toll and sooner or later exhaustion and crisis set in. It could be a good premise for a comedy, but the result does not meet expectations. The fault is not so much with Brosnan, as he handles the comedic part and the whole assignment well, even though this type of role does not suit his nervous character. This could be the domain for an actor like Pierre Richard. The main problem, however, lies in the script and dialogue. The Matador is far from being as funny and good as it could be. It has a lot of weak points and is only running at one-third capacity. Overall impression: 40%.

There are movies that have a solid and clear opinion, such as the anti-war musical Hair, the political satire Wag the Dog, or One Flew Over the Cuckoo's Nest, which mercilessly mocks conformity and hypocrisy. Then there are movies that don't have a strong opinion because their sole purpose is to create maximum fun, like Tropic Thunder or Borat. The Men Who Stare at Goats is perfectly cast and occasionally has really successful jokes about the army and others. But I really don't know what the opinion is, what the film is actually conveying, and from where and to where it is heading. Meanwhile, the subject has the power of a hydrogen bomb and could have given birth to a top-notch satire that could rival the most famous films in its genre. Both superpowers during the Cold War really did have a crazy military program that tried to use parapsychology and all those crazy ideas, predicting the future, levitation, and God knows what else. And on both sides, this was sincerely hated and despised by rational-thinking military experts and politicians. Yet it seems like the screenwriter took a hit of marijuana or licked LSD and because it's so hazy and saturated with New Age nonsense, the feeling of a top-quality film, unfortunately, didn't arrive. Overall impression: 60%. If the peak humorous scene was supposed to be the drugging of a military base with a strong dose of LSD, then the screenwriter is a fool, because something like that could have ended in a crazy massacre...

I, unfortunately, cannot identify with the cult status of this series because, after three episodes, I have concluded that it is a waste of time for me. It's another one of those series that tries to follow in the footsteps of the legendary success of Monty Python's Flying Circus and aims to achieve maximum absurd exaggeration in its sketches, but in my eyes, many jokes cross the thin line of awkwardness. It could probably be described as childish humor that doesn't sit well with everyone. Overall impression: 40%.

The first reactions to Frank Darabont's new adaptation of Stephen King's literary source were enthusiastic and caused a great deal of anticipation among horror fans. Then followed somewhat mixed reactions, so I was curious about the result. The Mist is a typical example of a film where the creator balances between trying to shoot a psychological drama of a group of people surviving in extreme conditions and trying to please the mass audience and shoot a sci-fi horror in the style of Alien. Naturally, the few avid intellectuals will not be pleased with the presence of typical B-movie props such as giant mutated spiders or gigantic polyps, while a larger group of horror fans will miss some of the clichés they love, as well as greater plot dynamism and a lack of intense action. Many will rightly criticize The Mist for its somewhat outdated special effects, which can be done more professionally and with better results today. Despite all this, it is a significantly above-average genre movie that has a strong story with a very decent dramatic culmination and several strong scenes. However, I can't help but feel that more could have been extracted from this material, and the encounter with extraterrestrial life could have been much more imaginative. Why does the author think that the same forms of life live in the distant universe, only significantly larger than here? Overall impression: 85%.

In Czech literature and film, dreamers, visionaries, seekers of alternative worlds, and enthusiasts of all kinds often take the form of sympathetic wanderers with a poetic view of the world, and they are associated with positive values and classified as positive characters. Harrison Ford as the head of a family obsessed with rejecting the civilization that created him gradually shows the hidden side of the personalities of such crazy individuals. What initially appears as a comedy about an unrecognized inventor gradually transforms into a drama about a self-centered eccentric who, in pursuit of his ideas, does not hesitate to poison the family atmosphere and endanger the very existence of his family. Unfortunately, it seems that Peter Weir was somewhat unsure and did not clarify in which genre he wanted to operate and what he wanted to convey with his film. In such a case, even a top actor is useless to him, or rather, his potential is not utilized as Ford's talent and dedication deserve. Overall impression: 45%.

At an impressive stage of his career, Clint Eastwood delivers a professional performance both behind the camera and in front of it. He continues to make films because he still enjoys doing it and because his position in the American film industry allows him to do so. What he showcases in The Mule he has already done in the past (much) better and more convincingly. His film lacks tempo and elements of sentiment creep into it. The routine execution can't be overlooked, but you can't blame the old man for portraying his social type, a guy who has forgotten the times when things were still in their place, when there were two genders and men knew how to change tires, he has been honing it for several decades now. Overall impression: 55%.

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%.

I prefer pure natural science documentaries over this sort of infiltration by philosophies or religions of any kind. Overall impression: 50%. However, I have to admit that giant wasps represent an attractive subject and the camera work was decent.

I wanted to watch this mainly because of Michele Laroque, whom I have fixed as Daniel Auteuil's partner alias Pignon from the successful comedy The Closet, and I consider her a quality actress with typical French charm and great comedic talent. Unfortunately, I didn't notice that it wasn't a French film, but an American production, so in this variation on a romantic comedy about the emotional closeness of two seemingly incompatible opponents that has been done a thousand times, I noticeably missed the charm of French conversational comedies and relationship films. If something really drags down this film, it's the screenplay, which is neutered and mainstream cowardly, and simply mediocre. If I were to compare it to Green Card, which I recently reviewed, then I would say that Matthew Modine doesn't have even half of Gerard Depardieu's charisma, and although Michele Laroque easily surpasses Andie MacDowell as a character actress, here she doesn't have much to do and the script's qualities are really a lot worse in this film. So, if I gave Green Card 3 stars, here I necessarily have to give less. Moreover, I cannot forgive the fact that Michele Laroque was 47 at the time of filming and, in all honesty, she doesn't look like a woman who is about to enter marriage for the first time and considering whether to have two or three children. After all, in a drama ten years older called My Life in Pink, she played the mother of a boy on the verge of puberty... Overall impression: 40%.

Nicolas Refn is the perfect director for shooting spectacular spectacles because he can cleverly bombard the viewer with attractive sensations. His talent would be greatly utilized in shooting advertisements and music videos, as well as certain genres of films. He could easily handle refined eroticism without a blink of an eye - if, however, he didn't want to convince the viewer, and most likely himself as well, that he is destined for the world of great art. He therefore chooses inadequate film resources for his goals, discovering banal, universally accessible truths and attempting to camouflage depth where it tramples in the quagmire. It's a shame because with his reputation he should have no problem persuading leading character actresses to undress in the interest of the Muses. However, in this affected, elongated pose, Refn becomes annoying. I will give him 30% for the participating ladies, and he should be glad that I am feeling sympathetic and that I'm squinting my eyes at this desperation until it hurts.