Isherwood

I don't sympathize with bald hooligans whose only entertainment is going to the stadium and causing as much trouble as possible. I strongly doubt the intelligence of these people. I don't know what director Jakub Sluka's intention was when he was deciding who he was making the film for. Either for the hooligans to feel good that they are so great that movies are made about them, or for the "rest of us" and wanted to showcase to us the stupidity of these people. Throughout whole movie I felt like Sluka was trying to play both sides. Unfortunately, he did so unevenly, because there is a certain sycophancy toward the Ultras. The average viewer can grasp the film and find in it what the director intended to convey. That is, what he already knows and does not need to be proven. That hooligans are morons who have nothing else to do. There is, however, a certain effort to make all the characters less black and white. The boss of the party, Jirka, is quite a likable character who has been "given the gift of thinking." Unfortunately, Sluka compensates through his character for the shortcomings and monotony of all the other characters too much. David Novotný can’t carry the film as an actor even if he tries his best. He does his best, and his charisma radiates at every step, but he is simply not enough. Jiří Lábus played a really disgusting role. He was an extremely unsympathetic character, and I tried the whole film to find at least something to like about him. Moreover, Lábus overacts in an unhealthy way, which is quite surprising coming from him. Not explaining the behavior of the innkeeper in Oldřich Kaiser's excellent performance seems like another mistake by Sluka against logic. Overall, the film would have benefited from an extra fifteen to twenty minutes. I would try to stomach it, and then maybe something could be inferred from the film. This way it feels like the editor's scissors may have worked a little too hard. Or maybe the director didn't get it right...?

Comedies about guys who are approaching their third decade and realize that their best years are behind them, but refuse to accept it, have been made plenty of times. Old School, however, is original in its own way. Original in the form of a group of guys who decided to break free from social stereotypes and live life on their own terms. Director Todd Phillips has a good hand for comedies like this. Road Trip - teenagers, Starsky & Hutch - a gentle parody of the classic series. Audiences shouldn't look for anything in Old School. People should just get on the boat and trust the captain to show him all the places during the journey along the rivers called "Stereotype and Cliché." Don't worry about the story. As the film appears at the beginning, so it ends. It’s funny, dry, silly, awkward, but never boring. There's always something to see. Well, not always because a naked Will Ferrell running down the street is really... Actually, it belongs in the "embarrassing" column. Luke Wilson's acting is about the same as that of his brother Owen (the same faces). Yet the unassuming Vince Vaughn has been in the spotlight for a while now, and I have to admit that while his acting may not be extraordinary, he possesses a cute comedic charm. He has one of the most charismatic voices in Hollywood. Old School will be fun for all those who do not try to find something in it. And if they do, they'll probably be disappointed.

A traditionally straightforward espionage ride in which director Doug Liman delivers several top-notch action sequences according to modern audience demands. However, the film also relies on a captivating plot that, compared to the original book, may come up short, but in the case of this film, I'm willing to tolerate it because of the brisk pace, which briefly eases in the second third but then picks up full speed again in the end and manages to engulf the viewer throughout the full two-hour runtime. The careful work with the camera, which perfectly captures the action scenes, and the use of a cold color filter that complements the slowly snowing Paris, along with the excellent musical accompaniment by John Powell, are just a few of the film's strengths. Not to mention the precise performances by the cast, where although a young Matt Damon might raise some eyebrows, his minimalist expressions suit the role perfectly. One minor criticism could be directed at the occasional "late" editing, which reveals the stuntmen "catching" falls. However, even after seeing the film more than ten times, it's impossible not to give The Bourne Identity a perfect review with a smile on my face.

The Farrelly brothers' disgusting, vulgar, and perverted comedy got a sequel. Well, a prequel, actually. The comedic qualities of the first installment were not particularly dazzling, but the Farrelly brothers bet on brutal jokes and top-notch performances from Jim Carrey and Jeff Daniels. This film, however, lacks everything I listed a moment ago. There are a lot of lame comedies, but at least I can laugh at some of the stupid jokes now and then. If, however, you go through the entire film with a stone face and a blank expression, it's clear that something is not quite right. Jokes like Harry pouring chocolate all over the bathroom and then the father of the girl he loves visiting thinking it's not chocolate, but... well, you know, I always like to laugh. It may have been perverse humor, but the director made even this scene so dementedly boring that it's at least worth pausing for a moment. The inability to shoot absurd scenes is really concerning. Compared to this film, a film like Kevin & Perry Go Large is like an art film that will definitely entertain you, even if you resist it more. So what if Derek Richardson and Eric Christian Olsen look like Jeff Daniels and Jim Carrey? So what if they can't even squeeze out a tenth of the facial expressions of their predecessors? Eugene Levy (Jim's dad from the American Pie series) made me downright sick. You can clearly see that he didn't want to play the role and that he overacted with such disgust that it completely ruined my impression of at least some of the actors in the film. Luis Guzmán (Traffic ) probably doesn't get too many interesting roles in Hollywood if he feels the need to act in such cinematic dumps. The film made me sick, not from any scenes, but from how terribly boring it was. Good thing it was so short. Bleh.

I can't decide if this film is stupid or brilliant. However, it definitely does have a few original elements. The first zombie film in the history of Czech cinema turned out to be very controversial. On one hand, the film doesn't lack action, which is good not only by Czech film standards. The creators didn't even attempt to build tension (which I believe was intentional) but on the other hand, the film is incredibly dumb in certain passages. Although it's never boring, it really is stupid at times. That's quite a shame because the action has its charms and, together with a properly sharp soundtrack, it feels notably "non-Czech." There are surprisingly few classic zombie scenes, though admittedly the stylish blasting of the zombie at the beginning is certainly reminiscent of any classic zombie film. Of the actors, Jan Dolanský is the best. It's evident that he doesn't take his role seriously and his acting style of "a guy who doesn't care about anything" immediately won my sympathies. Come to think of it, this is probably how the film turns out when former film critics (with the significant contribution of current ones) get involved - names like František Fuka, Tomáš Baldýnský, Ondřej Vosmík, or Martin Pomothy are well-known to enthusiasts. I do also acknowledge and appreciate the efforts of the creators that are evident in every step to make the film look the way it does. And that it's a little dumb sometimes? It can happen to anyone. If it weren't a Czech film, it would definitely be "out," but I always look at Czech films with a slightly different perspective... Three (un)deserved stars.

I haven't felt this good in a long time. A comedy from the world of thieves in the most elegant presentation. Traffic was indeed amazing, but here, you can see that Soderbergh wanted to take a directorial break. The film is neither frantic nor slow paced. It moves along in a relaxed manner that suits both it and the audience. There are no unnecessary scenes to prolong the film. There is also no unnecessary action, flashy camera shots, explosions (actually, there are a few, but there's no megalomania), and God forbid, car chases. I give the benefit of the doubt to those who say that it doesn't matter if the casino is eventually robbed or not. It's all about how it's done. Cunningly! This is the only word I can think of. Perhaps a bit too much and it’s cinematic, but it's not about art, but about entertainment. Hats off to you, Steven Soderbergh. The ensemble cast doesn't deliver Oscar-winning performances, but it's evident that everyone is having a good time, just like the director. Even Andy Garcia, who I kind of felt sorry for because I have him pegged as a positive protagonist. I considered Julia Roberts a sympathetic addition to a great film. Like I said, I haven't felt this good in a long time. Two hours in the company of a great cast working on one great job.

I love Rammstein's music. I can listen to their songs over and over again. Even though I claim "I'm not into music," I still love to listen to it, despite my lack of knowledge about notes and chords. I'm not going to dissect opinions on them or their music, performance, or overall image. Live aus Berlin is an unforgettable experience. I'd love to hear them live, but where am I going to get the money to go to their concert? It’s a highly explosive spectacle, where things are on fire, exploding, and all accompanied by their music. The boat trip is a blast. A tumult that cannot be forgotten. The filming is perfect. I can't think of anyone else who has such choreographically perfect concerts.

I've only seen one of director Bob Rafelson's films. It was called No Good Deed and I thought I was going to die of boredom whilst watching it. Rafelson is an incredibly boring and unimaginative director. With a foreboding sense, I sat down to watch this movie. I got absolutely everything I expected. Actually, there was one thing I didn't expect. Until this movie, I thought Samuel L. Jackson could play absolutely any role. Not so much. I couldn't believe my eyes, but I found Samuel L. Jackson completely bland. His arrogant expression is completely out of place. That's the one thing I didn't expect. But yeah, it’s got a tedious plot and the entire movie left me wondering what it was really about. In the end, I realized that it was actually about nothing, and poorly told at that. Rafelson is an absolute bore, enough to drive one to madness. The short duration of 1 hour and 40 minutes could have either allowed for much more content to be included, but the script didn't permit it, or the film could have been shortened by about 20 minutes, but that would have... Rafelson probably didn't have much choice. It doesn't matter. Bob Rafelson is an incredibly tedious storyteller, and I will be very cautious about watching another film of his. I might even think twice before deciding to.

The African is a shining example that some films do age. Which is quite a shame. The film is likable, entertaining, and pleasing, but not as much as it was years ago when I first saw it. The humor is not timeless, but rather aging. However, there is something that doesn't age. That would be the actors Catherine Deneuve and Philippe Noiret. The constant teasing between this duo in the film is the most entertaining part, and I acknowledge that some dialogues will still be enjoyable to watch even years later. Their acting hasn't gotten old either and they both do an admirable job. Charlotte may be "only" a beautiful woman who often gets into trouble, and Victor is a real man in the right place, but they are still worth watching. It was a good watch. I'll see what it's like again in a few years.

I don't like contemporary French humor. These conversational comedies just don't do it for me. I love to watch Louis de Funes films, but this one is just beyond me. On TV they repeated several times how excellent the film was, how many César Awards it won (4), and that it was even nominated for an Oscar. I can't help but not like this film one bit. I acknowledge that the script is original, but unfortunately, the originality comes at the cost of dreadful boredom, which goes hand in hand with it. It's unbelievable, but it's true. At times I was looking at my watch rather than at the film. Yes, you can feel the director's passion for the film, but this approach seems to satisfy her more than the audience. To be honest, I'm not disappointed with the film because I didn't expect anything from it and this style of comedy doesn't suit me either. It's actually like I never even saw the film.