novoten

"Sex relieves tension, love evokes it." This is how it can turn out when a master directs a relaxing film. I thought it would just be a little toy for Allen's pleasure, but amidst a flood of gags and occasional pessimistic thoughts, everything converges into a captivating parody of dramas about fateful decisions and bundles of thoughts on the same subject. The only director from whom I can list ten more significant films on the spot, and yet I know that he deserves a fifth star for this one as well.

Beautiful and noble dialogues in an inimitable atmosphere in the film, which is beautifully watched even in moments of "scriptural calm". Mankiewicz showed two different views on art, the ironic and career-focused attitude in the character of Margo (played perfectly by Bette Davis) and the idealistically naive and loving attitude in Eva. Or perhaps...?

Absolute victory of form over content and story. Even though, in its almost metaphorical conception of human incapacity to reproduce, it can drive a few bugs into the viewer's mind. It's a pity that it doesn't develop the central idea too much, it doesn't provide a cohesive resolution and rather serves as a screen for the camera and editing. But oh, for what purpose! The expression "raw" has never applied to any other film as much as it does to The Descendants. The attack on the car and especially Thea's journey through the battle tumult resonate in me longer than after the closing credits start rolling, and I am afraid that some unnecessary and mainly pre-condemned plagiarists will try to shoot a scene that will be better or longer and fatally fail. Definitely not the film of the year, but perfect for contemplation and amazement from a visual standpoint.

"So who will be my next victim? You?" Master Allen has found a new muse, moved to London - and shocked the whole world with a total change of genre. He shocked me too, but in the most positive way. Woody touches the conscience of all sinners and wrongdoers while sympathizing with them carefully. By not appearing in the film himself, he gives the viewer a sense of a personal masterpiece and perhaps even confession. At this moment, I feel like we haven't had such a masterpiece from him in a sea of years, especially in a more serious genre branch. Moreover, both the incredibly seductive Scarlett and the incredibly credible Meyers are going full force and make Match Point possibly one of the director's Top 3.

Overcomplicated and yet unfinished. Spike Lee's storytelling style just doesn't sit well with me. After 25th Hour, he couldn't capture my attention in the first half to deliver an almost beautiful ending. This was mainly aided by the brilliant Clive Owen, but otherwise, this piece in its omniscience and supposed lightness failed in a striking way.

Brilliant animation, which left me amazed the whole time, and amazing action scenes that I could easily watch over and over again - on the other hand, the story is on the level of a short story by a beginning writer, and the characters with whom the viewer does not have a chance to develop any kind of relationship.

At a time when with every new Shakespeare adaptation, the question arises whether it will be modernized, turned into a musical, or transformed into a teenage version (all options suit me), Michael Radford dared to take a bold step - he filmed the movie exactly according to the original. That's why it took me a while to accept the audacity and slight verbosity of the theatrical dialogues, but since Pacino's divine acting could captivate me even if he played in the silliest movie and I also appreciate Fiennes' modest expression and Irons' sad gaze, I was left with great satisfaction after the final credits. However, this is by no means a film for everyone, Shakespeare's extreme romance is used here to a large extent and those who do not appreciate sentimental endings or dialogues might give up on the film disgustedly even before its halfway point.

A briskly paced and solidly acted crime drama, unfortunately, plays on something it is not in some places, featuring too many characters and frequently resorting to gratuitous sex scenes. Nonetheless, at the time of its creation, it was an important proof that the dire state of Czech cinema is not so critical, and it represents the direction followed by many followers of Svoboda.

Perfect movie for everyone who thinks that kind and yet morbid humor cannot be combined. Smoljak is a brilliant connector.

Visually, it's absolutely amazing and whether it's Pyramid Head, Alessa, or any other appearance, I just envy what Gans presents to the viewer with a stunning piano accompaniment. Unfortunately, as someone who didn't play the video game source, I got quite lost and ended up completely lost at the end. If I hadn't looked up a lot of things, I probably still wouldn't know if I liked Silent Hill or not. After understanding the main connections, it's a bit far-fetched, but I give it four stars considering the atmosphere. It should have continued immediately the following year in this atmosphere and not turned the suspicious town of fog into a cheap horror brand.