Marigold

Lynch's Mulholland Drive is a great lesson in perception. As well as a great lesson from the power of the narrator - power over the fictional world, its inhabitants, but also over those who try to decode it. In the first part of the film, the director entices us into the trap of traditional narrative perception, into the straitjacket of the unity of time, action and characters. He unfolds before the viewer a seemingly unambiguous thriller plot about a woman who lost her memory during a car accident and, with the help of the beginning Hollywood actress Betty, tries to look for clues about what happened to her. She finds three material constants that will soon remain the only constants in the chaotic vortex of dream and reality – house number 17, the blue key and $ 25,000. The ensuing earthquake, which destroys the plot that has been carefully constructed and reconstructed by the viewer, is typical Lynch. The characters change names, and the plot and time become relative... And the key remains, which does not unlock anything for the viewer, house number 17, whose inhabitant is known and yet unknown to us, and $ 25,000, the determination of which we suspect, but we do not receive anything to support this theory of ours. What is real and what is a feverish dream? How do the strange and disturbing episodes that Lynch seems to associatively insert into the flow of narration fit into the plot of the film? What, in fact, is Mulholland Drive? I do not know the answer. It's a classic mental time bomb that confuses and annoys you, but you don't really think about anything else. Lynch created a disturbing labyrinth in which he shatters the mirrors of the classical narrative structure, in which the hypocritical and empty world of Hollywood (a masterful scene with the revival of meaningless and empty text on casting) is reflected, in which the viewer is necessarily lost if he or she perceives in a learned manner - materially, causally. A labyrinth with a brilliant and almost schizophrenic performance by Naomi Watts... Lynch is a great magician of dreams, hints and riddles. A bandleader who creates the illusion of instruments to then reveal that everything is played only from the tape - it’s fake, artificial... confusing. I am not going to give it any stars until I see the film a second time, maybe a third time... I confess without torture that I don't really know if I've actually watched a film. Formally, undoubtedly masterful (sound, editing, camera, music and the overall atmosphere resulting therefrom is freezing, dark, enchanting...), but in terms of its interior, I am still too far from its core to make any judgments.

Damn, I quite like this silly tale about a fat frog man! Especially in terms of its visuals, because the concept is neither particularly fabulous or overly serious... it's simply a ridiculous caricature. And that reminds me of the poetics of "MPFC"... The humor is weaker, but the "crazy" acting save the film quite a bit and turn the classic British fairy tale into a relatively humorous and silly spectacle (not only) for Python positive. It's definitely not a good idea to expect full-fledged Python humor from the film, but it undoubtedly has its charm.

A very decent war spectacle about conquest-non-conquest – destruction-non-destruction of a key bridge over the Rhine. In the context of American works, the spectacle is rather intimate and economical in terms of set design and extras, yet also impressive, interesting and dramatic. The main advantages of the The Bridge at Remagen are its decent depiction of the characters, a few twists and a solid narrative pace, which will suffice even without excessively monumental and pathetic crutches. The fact that the film was shot in the turbulent atmosphere of the post-August Czechoslovak Republic is just a spicy pepper on top of decently-flavored war goulash.

Quite atypical Lynch, at least in terms of surface touch... A captivating story about a stubborn grandfather who one fine day grabs a tractor and takes a long ride through the world to reconcile with his brother. The typical road movie form in Lynch's hands is not boring at all, the sequence of poetic and funny stories has enormous inner strength, and the cheerful wisdom of an old and gnarled man, played brilliantly by Richard Farnsworth. But there are also traditional "Lynch" hallmarks (the deer scene) in the film. Pleasant, smooth, poetic. A beautiful film.

The saying that repetitive becomes funny unfortunately does not apply to Jaws 2. I don't even mind the fact that it’s not a particularly imaginative variation of the Spielberg classic, but I get annoyed by the incredible slowness and futile evocation of a terrifying atmosphere... which dissolves in the long details of quieter passages and disappears in the wild cuts of action scenes. Even Scheider's Brody is desperately colorless, indistinct and doll-like. A few decent jump scares and a few tense moments emerge from the depths, but most of the film is stuck in a stony shoal of boredom and lifelessness. The shark is just too rubbery and absolutely no fear radiates from it. Why settle for an imitation, when the master has already created something better?

I may as well just repeat what was written about the first film: a brilliant and funny adventure, this time a little sadder and more tragic, yet no less magical. It forms a whole together with the first film, the quality of which breaks the boundaries of time and remains an almost unattainable goal in the field of historical adventure films.

There are very few films (not to mention adventure films) that I watch with as much enthusiasm as Lester's Musketeer films, every time they are on screen. The reason is simple – a great cast that has created a sparkling interplay of good (especially the four unforgettable faces in blue cloaks with white crosses) and evil (Rochefort-Richelieu-de Winter, a threesome of villains whose sophistication and charm are unmatched), and the fantastically light-footed and imaginative choreography of the fights, a beautiful set design, a very kind irony with regard to Dumas' masterpiece and, above all – magic. The amazing, beautiful and captivating charm of the friendship of four great men, who believe in the principle of “one for all and all for one". The essence of adventure movies, the essence of "chivalry". In short, Richard Lester did a great job filming it and gave the film the appropriate pace and poetics, which most certainly not everyone is capable of. In the end, these are definitely the best film Musketeers and this is one of the best adventure films of all time. Perennial.

Decent crashes, the plot is a bit sparse, the occasional deaths of the main characters, quite a solid choice of people "behind the wheel" (at least the dwarf Turk is a pleasant change after all those two-meter athletes). Here and there you may come across a story that has a decent tension, drive and attracts viewers to the screen... which in turn is balanced by a completely dull and pathetic hodgepodge. It is definitely above average in terms of German detective-action productions, which means nothing more than the fact that it can be watched without detriment to reason, taste and morality...

I always enjoy these tequila westerns. I enjoy Quentin Tarantino's mini-performance and his glorious ending, as always the excellent Steve Buscemi, hot-tempered music and Mexican wild action. This is possibly Rodriguez’s best directing performance of his career, and El Mariachi, played by Antonio Banderas, has the grace of great heroes-avengers. Desperado is actually nothing more than a clichéd shooter with a traditional western plot. The joke is that the film is well aware of this and is a truly scathing parody at certain times when the characters speak. On the one hand, it’s quite funny, while on the other a brilliant and exciting action film about a guitarist who plays using two shotguns... I like it!

Extra world animation class... An excellent musical accompaniment that can pump it up, a classic grotesque, which in principle does not differ much from American animators, but in its charming way it remains very unique... and typically "Soviet". It's not just nostalgia, Well, Just You Wait! is immune to time and change in political systems.