Krouťák

A thoroughly enjoyable 2.5 hours that had me smiling throughout. Seeing James Gandolfini again, especially in never-before-seen behind-the-scenes footage, was a wave of nostalgia and joy. Steven Van Zandt and much of the brilliant cast share insights into the creative process, along with their personal motivations and struggles. I knew very little about the mastermind David Chase, so this documentary was particularly enriching for me. Honestly, I could’ve devoured a 5-hour version of this. The Sopranos has always been, and always will be, one of the most complex masterpieces in TV history in my eyes. It’s a show I regularly revisit every few years, and James’s untimely passing is one that will always sting. Huge thanks to the documentary team for creating such a respectful tribute—this show and everyone involved definitely deserved it.

Kinds of Kindness didn’t hit me as hard as Alps, but it’s still a bit of a “shock” after Poor Things. I thought I had a handle on what to expect from Yorgos Lanthimos, but he’s clearly the kind of unpredictable filmmaker who can blow my mind one moment and then leave me cold the next. The trailer had this frenetic energy, but the stories themselves don’t quite flow that way, and they don’t pack the shocking punch you’d usually expect from him. I appreciated the cast and the decision to split the film into multiple stories, but I typically enjoy when those stories connect in a meaningful way, which didn’t really happen here. The pacing of each segment felt erratic, like an ECG line. By the time the credits rolled, I found myself thinking that Emma’s final celebratory dance was the best part—and for a director of Lanthimos' stature, that just didn’t feel like enough. Three stars, mostly thanks to the first story – 55%.

Coming up with something fresh in the Deadpool universe (yes, even with its growing ties to the MCU, I still see it as its own thing) is no easy task. The creators of this crossover with a rather weary Wolverine seem fully aware of that—and they don’t try to hide it. Deadpool & Wolverine skillfully recycles ideas from other more and less successful franchises, even dusting off some hidden gems from the 90s (no spoilers here), and honestly, this kind of "borrowing" would probably raise more eyebrows if it weren’t Deadpool. So, in that sense, hats off. For me, this is Levy’s best film since Real Steel—a solid popcorn flick in classic Deadpool fashion. It may not blow your mind if you've seen the first two films, but it's still filled with that unique Reynolds touch, unafraid to poke fun at itself or the studio (RIP FOX). Hardcore fans who are well-versed in film references and industry jabs will have the best time, but even casual viewers should find plenty to enjoy, even if some of the countless nods and digs fly over their heads (I probably missed a few myself the first time). 75%.

Leaving the theater, I couldn’t shake the feeling of disappointment. It’s not that I was bored during those 180 minutes—honestly, they went by fairly quickly. But what really fell flat for me was the emotional connection to the characters. I get that Costner wanted to keep all the storylines intact and go for something grand and epic. He’s made it clear that the film’s length and the number of planned sequels are part of his vision for the most ambitious western ever. Unfortunately, this first shot missed the mark for me. The music and cast are solid, but we’ll have to wait for at least the second installment to see if Costner can course-correct and make the whole thing click, or if this will go down as the biggest misstep of his career. 60%. P.S. It’s pretty absurd that he put Yellowstone (which I love) on ice for this, but credit where it’s due, at least we won’t have to wait a year for the next part. Fingers crossed the follow-up spares us the cliffhanger-style ending. EDIT: Just hours after I wrote this, they announced the second part’s release has been delayed indefinitely... yikes.

Loveable is one of the few "typically festival" films from this year's lineup that’s still lingering in my mind, and I suspect it will stay with me for a while. The festival awards it received are completely deserved—especially the one for Helga Guren’s performance, whose final scenes are nothing short of heartbreaking. The sensitivity with which Lilja Ingolfsdottir captures life’s battles, scars, and the often unconscious negative patterns we pass down from generation to generation is remarkable, especially considering this is her feature debut. It’s not an easy watch, but I'm glad I got to see it. 80%.

Paris, Texas is easily one of the most memorable screenings I’ve experienced at the Karlovy Vary International Film Festival. I'm really glad I made the effort to catch this melancholic, slow-burn, and at times almost hypnotic, detective-like odyssey for the first time in such a perfect setting. After some reflection, I’m bumping it up to a full score – 90%.

"I really just want to go home." An incredibly fun ride that keeps the intensity high throughout. This delightfully absurd gem from the master himself caught me totally off guard, and that just made the big-screen experience even better. 85%.

One star for the young lead, and another for the creative decision to shoot from her perspective. Sadly, that’s about all the positives I can give this short feature. The storytelling becomes so repetitive that it feels way too long for its runtime. 40%.

Ultimate Irish euphoria. The Trainspotting vibes hit you right from the start, and as the synopsis promises, you're in for a film with serious cult potential. You can feel the pure joy of creation in every aspect—whether it's the music or the story itself. After 14 years of attending the festival, this was the first time I went to see a film twice. At press screenings, applause is rare, but Kneecap totally earned it. 90%. P.S. At my age, I really didn’t think I’d be getting into Irish hip-hop. But after this... do I even have a choice?!

Mádl has truly leveled up his directing game. Sure, the theme has been explored countless times, and for Czechs, it’ll always be a sensitive subject. But the way he pieced together this 131-minute story, perfectly paired it with music, and thoughtfully reminded us that nothing is ever black and white—especially in this context—without falling into the trap of sentimentality? Wow. In the festival setting, it's a five-star experience (but otherwise, a slightly more sober 85%).