Medieval

I might be one of the few who gave this film five stars, but I have my reasons. Sure, the story was a bit confusing at first. It took some effort to figure out the medieval power plays and motivations. And yes, the action scenes were chaotic, and it was hard to tell who was winning at times. There are also historical inaccuracies, but considering a respected historian worked on the film, and given the scant details from that era, I'm willing to overlook them. Why? Because Petr Jákl has crafted a compelling story about one of the most important figures in Czech history. The gritty medieval atmosphere is fantastic, and the score, featuring multiple renditions of "Ktož jsú boží bojovníci," is stunning. Shot in a Hollywood style with a strong international cast, everyone delivers excellent performances. Ben Foster as Jan Žižka and Sophie Lowe as Katherine were particularly impressive. Filmed in the beautiful Czech landscape with its historic castles, the movie showcases our country to the world. It's fulfilling to see Czech medieval history brought to life in a way that makes it accessible and intriguing to a global audience. Jákl's effort to sell this film to America is a rare feat, making Medieval a unique accomplishment unlikely to be repeated soon. This film doesn't just tell an important story; it serves Czech heritage on a global stage. For all these reasons, I gave it five stars. It narrates a great tale from our past and does a tremendous service to the Czech national pride. I hope people enjoy it and learn more about the era instead of nitpicking. This film deserves appreciation, not unfounded criticism. (09/11/2022)

Jakl really needed the help of renowned historians for this action-packed tale of running around in the woods? Well, fuck me Žižka! It looks as dull as the American The Pagan Queen did 14 years ago. There are basically only four alternating locations: a forest, the chapel with Sigismund, a cave and the quarry of Great America, and the one (!!!) nice visual effect shot in the whole film (the arrival of Boreš in medieval Prague) doesn't save the overall cheapness of it all. I used to think that Jakl is at least a skilled producer who can generate bags of gold, but I'm starting to doubt that too. Ironically, I'll add that his highlight so far is the blood-curdling screaming in Pterodactyl, where at least he was fun. PS: Fuk can't be taken seriously anymore, he's getting more and more ridiculous. (11/06/2022)

The Czech Braveheart. From a historical point of view it is completely useless, because we learn almost nothing. The cards are dealt in a moment and then it's just a matter of who cuts off whose hand or head first. The portrayal of any character is basically sporadic, including the main one about whose motives or moral values we know almost nothing. The overall flatness and blandness of the characters is unfortunately not a problem of the actors, but of the director. Petr Jákl fails to take the viewer by the balls and properly draw them into the plot. For almost two hours, the protagonist is either running around in the forest or forging plots in half-ruined castles. If 400 million CZK were spent here, then it must have been primarily on A-list actors and action scenes. And this is also the only aspect in which the director even remotely glances at his famous Hollywood colleagues. Occasionally he manages to get an interesting shot or an action moment that packs a punch. It helps to have a well done sound mix that is top notch, but often it is degraded by the inept editing. The last half hour takes it from below-average to average, and it's the only coherent part of the film that doesn't feel aesthetically cheap and lacking in visual flair, which is a problem with almost every film made in this country. Is it really such a problem to use, for example, camera filters? PS: The love story was absolutely pulled out of thin air. (07/10/2024)

Forget the clichéd portrayal of the Middle Ages and the historical inaccuracies that abound also in Braveheart, Robin Hood, Kingdom of Heaven and the like, I have another problem: what is Jan Žižka really about? What’s its idea? I got lost in the intrigue of "who, with whom and why", I was bored by the second third of the film, which dragged on enormously without much happening in it, and I wasn't very interested in Žižka's emergence, because there was hardly any of it. Žižka was almost always the same Žižka from the beginning to the end, the routine script didn't provide any big surprises. However, what Petr Jákl the (co)screenwriter failed to do, Petr Jákl the director masked quite skillfully, but also in no revelatory way (the battles, or rather skirmishes, are desperately muddled and sometimes look ridiculous, but for example the scene with the lion is really great), and above all Petr Jákl the producer, who managed to get really, really, really good actors, led by a fine Ben Foster and including Michael Caine, who I never thought I would see in a Czech film, let alone Jan Žižka. In spite of all the criticisms, I have to wish the film success, because it is a revelation in domestic filmmaking in a good sense (I don't want to write like a one-eyed man among the blind), and I would like it to show that Czechs can produce something other than romantic comedies and communist dramas. However, if anyone in our country has managed to make a great film of world quality in recent years, it was Václav Marhoul (and he actually made two). (09/09/2022)

When I came out of the cinema, I was so resigned. I wanted for Jan Žižka to be a good film, and I wished it for myself. But two days passed and the situation changed a bit. Well, enough. I don't really know what to praise about Petr Jákl's latest film, but I also can't say I suffered with it. Overall, it's "just" not very good. Honestly, the twenty-three million dollar budget doesn't show in the result, but that's the least of the problems. The bigger problem is the awfully cluttered fight scenes, but the worst by far is the actual presentation of the story. Sod historical accuracy, whether the armor is period appropriate, that sort of thing. Of course, the fact that Žižka is a woefully flat character with no working motivation and Ben Foster spends most of the time floundering is already a problem. As is the entire second half, which consists more or less of running around the woods, swapping prisoners and looking for someone who just hid somewhere. I can only praise Roland Møller's villain, but the rest is mediocre at best, lacking directorial ideas, an interesting story and anything else that would be worth paying attention to. A Czech big movie of Hollywood standards this is certainly not. (09/07/2022)