Humprt Pum

Dávám 2 hvězdy. Přes slibnej začátek se z Dark Knight postupně vyvinul klasickej superhrdinskej bujónek. V druhý polovině sem párkrát usnul. Naštěstí mě vždycky spolehlivě probudil Joker. A ještě abych nezapomněl...ke konci se začne z plátna řinout tolik filozofie, že by to vystačilo na pořádně macatý skripta. Škoda jen, že tak polopatě. Kritika, se kterou se ztotožňuju: There's really only one major reason to see The Dark Knight, Christopher Nolan's sequel to Batman Begins. And that reason is Heath Ledger. Yes, his performance lives up to the hype that was already intense and grew even more frenzied after the young actor's tragic death in January 2008. Ledger's performance in The Dark Knight elevates the movie, which is really just another comic book flick in a year already full of them. Ledger plays the Joker, some 18 years after Jack Nicholson's iconic turn as Batman's clownish nemesis in Tim Burton's gothic Batman. The Dark Knight literally starts off with a bang and keeps the explosions coming. The movie is two-and-a-half hours of almost non-stop action, which while often enthralling, eventually gets tiring. It's just go-go-go. Thus, the Joker's character is well-established early on. He's a creepy-ass sociopath with no empathy and Ledger plays him to the hilt. This Joker is a direct contrast to Nicholson's character which was campy (almost to a fault) and more funny than scary. Ledger, on the other hand, is supremely creepy to watch and his Joker is a walking nightmare with his ratty purple suit, blondish green hair, and melting pancake makeup. And that garish mouth of his is more often leering than smiling, and his chop-smacking is downright stomach-turning. The Joker is the king of clowns for those who are freaked out by them. And that's the problem with Nolan's film, if it can be considered one. Ledger is so good and so creepy, that when he's not on-screen, one really misses him. The Dark Knight is populated by a great cast (Christian Bale in the title role, Aaron Eckhart, et al.), almost all of whom turn in good performances. (Maggie Gyllenhaal is a huge improvement over Katie Holmes in the role of Rachel, Bruce/Batman's one-time love.) But ultimately, this is Ledger's movie and despite all the action set-pieces (including one with a somersaulting semi) and plotting, the movie drags when he's not around. And at more than two-and-a-half hours long, with the Joker only flitting intermittently into the movie, the running time sometimes seems very long indeed. There's already been talking of Ledger being nominated for a posthumous Oscar for this role—don't be surprised if it happens. After a wealth of great performances, including the stoic, lovelorn cowboy in Ang Lee's heartbreaking Brokeback Mountain, Ledger's performance in The Dark Knight deserves the recognition, even if the movie itself is a hit-and-miss affair. — BRIE BEAZLEY (Reel.com)

Cronenberga žeru, nikoli ale tenhle paskvil.

Čekali byste, že se něčemu takovému nemůžete smát. Ale přesto budete. Humor, černej jako podrážka.

Stupidně zajímavé.

Opravdu strašné:-) Nikdy jsem nepochopil, jak může režisér skvělého "The Driver" natočit takové zrůdnosti jako "The street fighters" a "Warriors". Vyzdobení přehrávající panďuláci pobíhají sem a tam bez ladu a skladu.

Film, který mi ihned vytane na mysli jako přirovnání je "Festen". Kdybych neznal "Festen", dal bych Gosfordu" snad o jednu hvězdu víc. Ale když "Gosford" nesahá "Festen" ani po kotníky, tak je to těžké. Tolik postav a všechny tak povrchně...bída. Ano, třídní poměry dané doby ukáže tento film dobře, ale po 20 minutách už se nic nového neobjeví... negraduje....Škoda.

Jak skvělej byl "The Descent", tak ubohej je "Doomsday". Neile Marshalle, prosím, už ne...

Po 10 mnutách víte všechno.

Prostě Anderson.

PRO RADYO (pozor, následující kritiky obsahují SPOILERY) - LOS ANGELES TIMES: On the face of it, Wes Anderson's new movie, "The Life Aquatic With Steve Zissou," is an adventure tale about a Jacques Cousteau-on-the-skids-type who decides to pull an Ahab on the shark that ate his buddy. But mostly, like all Wes Anderson movies, it's about being 11 1/2 it's a recurring motif, anyway sometime around the late '70s, an age-era axis favored by Anderson and at least partly attributable to his current age of 35. But Anderson doesn't make nostalgic movies, exactly. He makes movies about the way nostalgia works on people which is different. All of his characters have longed for something weirdly ineffable, like the present, or the adult lives they imagined as kids. Oceanographer, documentarian and hubristic tragic hero Steve Zissou (Bill Murray) longs for all of the above plus a legacy; a son-figure; the reporter (Cate Blanchett) who has come to write a profile on him; a puff piece to get his career back on track; some money; a little consideration; a little understanding and revenge.An exquisitely evocative movie that elevates rueful melancholia to a superpower, "The Life Aquatic," co-written with Noah Baumbach, is not exactly a plot-lover's pizza. Anderson is all about the resonant image, an anachronistic tic he cops to up front. Before the first character is introduced, the camera lingers in wide-angle on a large Renaissance tableau serving as a backdrop for a stage. It's a familiar shorthand: Frame the vantage point, maybe hang drapes in the periphery, and wait for someone to meander into the frame. What we're about to see is not reality but an artistic interpretation of it no more a "slice of life" than a slice of pie. "The Life Aquatic" does that thing movies used to think they were supposed to do: paint with light, sculpt in time, drive you nuts with longing for something hard to pinpoint that you probably never had, deliver an emotional experience from which you won't recover. In "The Life Aquatic," this is achieved through an ineffable alchemy of red wool caps, pale blue Speedos, "Zissou" Adidas, acoustic David Bowie songs sung in Portuguese by a Brazilian crew member named Pelé (namesake of the world's greatest soccer player), the welling (twice) of Bill Murray's tears and Tintin tableaux of the entire ragtag crew including a turban-wearing cameraman named Vikram crammed into a yellow deep-sea exploration vessel. No doubt this endorsement isn't inspiring fans of Spielberg to leap off the couch and get on the horn with MovieFone although Murray does single-handedly take on a band of Philippine pirates in a scene that's a surreal version of somebody's dream about "Apocalypse Now." But this shark movie, which alludes to the other shark movie, which along with "Star Wars" is responsible for blockbustering into oblivion the best decade American m