Rendező:
Petr JáklOperatőr:
F. A. BrabecZeneszerző:
Václav Noid BártaSzereplők:
Tatiana Dyková, Konstantin Lavronenko, Vladimír Dlouhý, Boguslaw Linda, Michal Dlouhý, Deana Horváthová-Jakubisková, Václav Noid Bárta, Werner Daehn (több)Tartalmak(1)
A crime thriller inspired by the story of Jiří Kajínek, who is considered to be the first hitman in post-communist Czech Republic. He was sentenced to life and is currently serving his term in a high-security Czech jail. Following his escape from Mírov prison in 2000, Jiří Kajínek become an instant legend--as well as the most wanted criminal in Europe. The five weeks during which time he eluded the police are still shrouded in mystery.
The movie Kajínek is the powerful story of the most famous prisoner in the Czech Republic, the story of two murders, the story of a lawyer constantly looking for new evidence, the story of the underworld and of its infiltration into the state administration, and the story of political manipulation. Is Jiří Kajínek the victim of a conspiracy or a cold-blooded assassin? Is he trying to prove his innocence...or deceive the justice system? (forgalmazó hivatalos szövege)
(több)Recenziók (7)
Jákl has seen a lot of films. This film looks "American" more than anything else, and Czech cinema finally has a real "bad-ass" character (Konstantin Lavronenko!), but making movies about people who the media will make saints out of is kind of immoral. We could have almost finally had a proper Czech genre film without a sour taste in our mouths. 3 ½.
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A "remegős", realista thriller modern vizualitása cseh kivitelben nem kínos, sőt, éppen ellenkezőleg, jól működik, és segít feldobni az élményt egy olyan filmben, amely tartalmilag nem sokat tud nyújtani. Abban a pillanatban, amikor végre beindul, vége lesz. De ez nem az írók kritikája, hanem a cseh rendőrségé, akik ilyen gyorsan elfogták Kajínek-et, és nem hagytak neki teret, hogy oda kint további csínytevéseket kövessen el :) A színészek jók, az üzleti siker csodálatra méltó. Lehet, hogy a jövőben Jákl első igazán jó cseh akciófilmjére is számíthatunk? Ahhoz, hogy pénzt is hozzon, hasonlóan vonzó témával kellene rendelkeznie, mint Kajínek, ami nehéz lesz...
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The film version of a tabloid that plays at serious journalism. Exploitation attractions (anal sex!, tears!, blood!), a visual aspect made interesting at any cost and characters that can be described with a single word (with an exclamation point) turn an intimate court/prison drama into something resembling an ancient tragedy. Everything is BIG and IMPORTANT on the surface and definitely doesn’t demand that we look too deeply beneath that surface. The roles are clearly divided, the protagonist is a super-positive guy whose life is ruined by a bunch of assholes (which I would have no trouble believing if I ignored the title “inspired by actual events”). The dramaturgy was handled satisfactorily. The end of one scene arouses curiosity as to what will happen in the next one, the simple visual shortcuts help with orientation in the relationships between the characters and important information is repeated emphatically enough that after a few tens of minutes you figure out what the lawyer is shocked to learn shortly before the ending. Furthermore, the formalistic techniques are so overused that you will know at the beginning of most of the scenes where the director is heading (here someone will get shot, there someone will fly off of the road), thanks to which the film is devoid of any surprises. As a spectacle for those who are oblivious to the incredible naïveté and for those who are amused by that naïveté, Kajínek stands out from Czech genre movies that don’t offer such a “binary” possibility of cultural experience, a certain element of self-assured trashiness. 50%
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A film that is controversial in the most banal and brutal way I can imagine. A film with a solid momentum, but at the same time with a dizzyingly romanticizing image of Kajínek as a Czech James Bond. It is almost impossible to believe that this person is a member of the Czech underworld, as rather he looks like the post-revolutionary Mirek Dušín. I find that unequivocally questionable. The affected attempt at lyricism also got on my nerves, whether in the overstretched music of Václav Bárta or in the traditionally opulently empty camera of F. A. Brabec. The pinnacle of the movie? A famous and without question riveting performance by Lavroněnko, who made Kajínek into a character with whom the viewer will very easily identify and will feel sorry for/admire... Well? I doubt it.
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Petr Jákl made a decent follow-up to the minority series of Czech action films, which after all have come a long way. However, I wouldn't go overboard with any ode to joy regarding this. As a film, Kajínek looks good, works well, and makes sense. Vilhelmová handles the lead role well and it is acceptable that most of the shots are carried by her acting. However, the supposed super look of the whole film also begins and ends with her trendy hairstyle and clothes. A significant step backward is the roles played by Alice Bendová and Michal Dlouhý, who only copy their performances from The Velvet Murderers. Horváthová - Jakubisková was also not cast ideally and I would blame the casting, not the actors themselves. One positive surprise was of course Vladimír Dlouhý and Václav Noid Bárta. The performances of Lavronenko and Linda were greatly influenced by the choice of their dubbers, and their characters blended adequately with the foreign voices, as was the case of their colleagues in the Czech film The Bitch's Diary. They were reproached for it back then, yet now it seems that audiences have gotten used to it or they don’t worry about what they need to find as an excuse to give it a lower rating. Which is positive. I'll see how Kajínek changes with the passage of time, i.e., if it fits in like the overly harsh Bolero, also visually worked on by F. A. Brabec, or if it will continue to stand out.
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A decently made, but incredibly boring fairy tale, which lacked only a kiss through the bars, which would have made him swoon before the truly hideous song sounding into the closing credits. The direction was helped a lot by Brabec's camera and Vladimír Dlouhý and Michal Dlouhý, but otherwise it was just boring and empty. Even Lavronenko and Vilhelm were not miraculous.__P.S. I don't want to see Václav Bárta and Alice Bendová in any more Czech films, please. One and a half.
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As far as Czech thrillers go, it's quite good, but The Story of a God-Father was still considerably better and grittier in this regard. Jákl drew heavily from American productions and approached some action scenes in a similar style. It's not bad, but compared to what's out there, it just fades into the background. On the other hand, it's an example that a Czech action thriller can work.
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