Othello

My generally favorite topic of exhausted summer accented by historical fatigue of all involved. In the half-empty pub in broad daylight, drunk grandpas stagger over beer, the streets of the town are strangely empty and echoing. Everyone is barely holding on, exhausted by the heat and recent war. And what about the group of banderovci (although it is not mentioned in the movie, I feel like everyone just thinks they are banderovci, but I always thought they were lost Germans fleeing home), who have been on the run for two years and have nothing left to lose. Time is running out, demands are increasing, tension is rising, and it only saddens me that Vláčil didn't entrust the sound track to the ominously rustling mountain forests and the chirping of crickets, while that screechy Liška is screaming the whole time. As practically always with this director - I had to read about what it was actually about after the movie.

I've already figured out at least one good thing about prejudices. I didn't expect anything less than the absolute essence of all that's wrong with contemporary pop culture from the Deadpool and Wolverine crossover, especially with the devoutly studio-hook Hollywood hack Shawn Levy at the director's helm. Paradoxically, this actually ended up helping the film quite a bit in my eyes. At times, a credible weariness with itself shines through the entire concept, making it intriguingly entertaining to watch. At the beginning, the film shows us in the most literal way possible that it doesn't intend to kick the bucket but to kick using the buckets of old Marvel characters and repetitive jokes about the end of a certain era of comic book movies (despite being a prime example of why that is). A character meant to be a bold alternative to the retired, soft-hearted superheroes becomes a chewed-up gum with bitter irony reminiscing about the old times, clearly indicating that its target audience is more the balding 30+ pseudo-nerds in well-worn Marvel t-shirts who are slowly starting to consider whether they have spent the last 15 years heading in the wrong direction. Meanwhile, as Deadpool constantly positions himself as the shunned, controversial bad boy, he earns record sums for his employers. Disney managed to bring to the peak of the mainstream a collective sense of underestimated exclusivity and brilliantly profit from the societal mood of false underappreciation and marginalization. The reason why the latest Deadpool isn't absolute trash lies in these subtle moments where I felt a credible sense of exhaustion and helplessness in the repeated jokes and plot search. Apart from the Deadpool character films, I hardly know anything, but I'm starting to feel sorry for him because he is trapped in a world where nothing exists, constructed only from pieces of other worlds, and I occasionally get the feeling that he realizes that and isn't happy about it.

Warned by experiences from Lord of the Rings cinema marathons, accompanied by spontaneous chanting, bursts of laughter at seemingly random places, quoting centuries-old memes, and addressing the screen, I approached the full movie theater of people in Pulp Fiction t-shirts during the re-premiere with great caution. Not that there wasn't a desire from the audience to "own" the film, but it came with a significantly more humble intensity than expected, disappearing completely by the middle of the movie, perhaps except for the unfortunate guy who loudly growled "Zed's dead." to himself in one of the essential scenes, only to be embarrassed right after. The captivating power of the world of Pulp Fiction stems, among other things, from the fact that you want to believe in it for the twentieth time and experience its moments, not just take them in. How else can you prove the quality of a film than when its fans want to make it their own, but instead the film takes them over and over, the one they naively thought they knew from top to bottom. At the same time, Pulp Fiction, despite its drastic themes, still proves to be just as good as an ideal couples movie, containing three episodes mostly built on three best and most beautiful types of couple interactions: mutual cool and mischievous provocation (Mia and Vince), infantile hyperactive us vs. them (Honey Bunny and Pumpkin, notice how the former sweetens her coffee) and the down-to-earth cuddly cuddly romance between beauty and the beast (Butch and Fabienne). And all of this with the understanding that they are all either exemplary jerks or utter idiots you would never want to meet in real life.