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Slightly less nimble and less daring than the modern remake. A 90s adaptation with all the trimmings. It's interesting to compare the depiction of 19th century social conventions in the two adaptations and look for differences in delivery and specific nuances. Excellent performances by all involved, perhaps only the casting move of changing Kirsten Dunst for Samantha Mathis was perhaps too bold and unbelievable.

Well-written, entertaining and wonderfully readable by the modern scheming of the powerful prima donnas who want to be in charge. The acting is great, especially Jeff Goldblum shines as the absolute boss who finds out what others think of him and decides to put them back in line. The old Greek myths are raped with cynicism and self-reflection, making it a cool watch. The main criticism lies in the incompleteness of the work. Much remains to be explained, and though KAOS appears closed, this is not the case.

At times it reminded me of the last two seasons of Lost with its cluelessness, including the hatches that also lead somewhere. There are mysteries, unpredictable situations, but it doesn't lead to anything meaningful. For about half an hour or so, I was amused to see how dumb the whole thing was, like watching some exotic animal in a zoo that nature had "done" to in a way that would make Richard Attenborough weep. The characters behave irrationally, they have unnatural dialogues, and at the end, it builds up so stupidly and with such a futile point that it gives you a headache. The only thing that made me happy was the yellow Aratinga, because I love parrots. And in the case of Ishana Shyamalan, I can only think that the apple rolled far away from the tree and was never found. Meh.

A stare down of two alpha blind men and one maniacal Nakadaie. Too bad the "single-shot" action has been replaced by a "Zatoichi vs. lots of us" style. It's so weak in action, cluttered, without ideas, without choreography. It's only present during the naked bathhouse action. It often teeters on the edge of (un)wanted farce compared to the more serious entries in the series, but it never falls off that thin edge. A good episode no doubt, but the hype of the best in the series do it rather a disservice.

It could almost be called "Two Musketeers and Eva", because everything revolves around D'Artagnan and his efforts to save his beloved and then Athos (a magnificent Vincent Cassel) and his "skeleton in the closet"; the other two are neither interesting nor essential to the plot at all, apart from their awkward jokes at the end. The enchantment of the flawless production design, as in the 1st episode, stayed with me here though, the guys are properly dirty again, it has a fine unpolished patina of the 17th century, beautiful cinematography, beautiful castles, but I, having been bitten by Richard Lester's version and a pretty decent overview of the content of Dumas' novel, was surprised by the sidelining of Richelieu and unpleasantly shocked by how the political correctness pushed on me left an unpleasant aftertaste. I am referring to the character of the black prince Hannibal, who always appears at the right moment and helps the Musketeers out of their predicament with his selfless intervention. Dumas, who never once mentioned this character in his novels, must have been spinning like a propeller in a blender, but mostly it was given to the current quota, and now that I mention it, a person who has never addressed the woke agenda in films, that's really saying something. Sometimes you really don't need to push so hard, filmmakers. PS: The ending in the burning building is spectacular, but too "Hollywood" for me.

An enjoyable teen comedy, not many of them are made anymore, so I had a good time. It's not as funny as I had hoped, maybe because of the lack of an R-rating (Good Boys is simply different in quality), but it's decent entertainment for a boring evening that doesn't offend, nothing more. The party could have been wilder and the girls could have let loose more too. 55%

An enjoyable action debut from China, with my favourite Andy On excelling once again. The plot is classic B-movie fare, there's a detective looking for his father's killer and we also have a guy whose daughter has been kidnapped by a criminal organisation that deals in people trafficking. The theme of people trafficking is a very popular one for me in these action movies, so even though it's nothing new, I'm happy. The best thing are the action scenes, they are very mature for a debut. Well choreographed, with great cinematography, they are gritty, even quite brutal. Andy On is again excellent in the action scenes and he's well supported by veteran Terry Fan, both do a great job here and I thoroughly enjoyed all the scenes. An honest old-school martial arts romp that passes by quickly thanks to the intense pace and likeable cast. Only for genre fans. 7/10.

A middle-aged American writer corresponds across the Atlantic with an antique shop assistant in London, the whole film based on a rather original concept where we hear both actors reading the letters and at the same time their content is visualised by the scenes. In fact, the whole film is a constant reading of letters across three decades, and there is a minimum of dialogue where the two actors talk to each other. Unfortunately, in my opinion, it's a concept that only lasts about half an hour before it becomes repetitive and monotonous. The film does have a lively feel to it, thanks mainly to Anne Bancroft's enthusiastic acting, but otherwise I don't think the story is interesting enough to not be tiresome by the end. I've seen Anthony Hopkins act better in many other films, too. But I can say from my own experience that this movie is very much liked by women, my 60 year old sister loves it, my friend does too. So I guess it's my fault :o)

After Khrushchev's exposure of the Stalinist cult of personality, the ice began to break very slowly, the building ethos in the films of the late 1950s began to gradually disappear, and Czech filmmakers tried to gradually "tread the terrain" and test what they could get away with. Lyricist Václav Krška came up with a theme that would have been completely unthinkable 5 years earlier: the clash of youth with the law. He invited his court actor Eduard Cupák, who together with Jana Brejchová was probably the biggest acting star of the young generation of the 50s. And everything came together nicely: the story of one crime and the subsequent gnawing guilt, the appealing atmosphere of the Holešovice harbour (seeing what Prague looked like 70 years ago is an experience in itself and it adds an extra layer to the film), and a nice period pop song by Josef Zíma, the impressive acting of the main duo, with Tonka (Jana Dítětová), interestingly combining decisiveness and over-sensitivity, and Freddy (Cupák) being a proper dork on the wrong track, who scolds Tonka, who is a few years older than him, while he teases him like a little boy. Perhaps only Josef Vinklář occasionally overdoes it with the expressiveness as the villain, but we're used to that by now. The open ending resonated with me, even though I didn't want it to.

A thrilling, focused start revolving around the simple premise of a random passer-by drawn into the world of police brutality, a wonderful build-up culminating with a scene of restarting a modem...and then a somewhat tentative second half, which makes an attempt at more complex motivations and an elaborate conspiracy formula...and Saulnier’s cohesiveness slackens a bit and the slow-burn film suddenly becomes rather “burn too slow”. The screenplay relies more on coincidences and mechanisms that are supposed to connect the individual motifs, but that feeling of simple genre satisfaction is already long gone. In any case, Aaron Pierre is a revelation. Really, Rambo meets Reacher. Give him a franchise. Beware of guys who don’t blink. A strong three stars, weaker four.

Ali Abbasi does some solid directing work when he tells Trump’s story in a stylised way with a variable period patina and doesn’t allow himself to be tempted by the potential for an exceedingly glamorous spectacle about the (morally) poor rich. He has self-assured actors and good rhythm in fragments, but Gabriel Sherman’s screenplay is really very superficial and cautiously skims over situations. The film thus lacks a greater catch beyond summarising facts and conjectures that are already generally known. Fortunately, the film has a great dominant level with the character of Roy Cohn, uncompromisingly portrayed by Jeremy Strong, who maniacally immerses himself in the role. Sebastian Stan gets the job done, but he really doesn’t stand much of a chance against the portrait of the man who created the pragmatic monster, who in turn devours his creator and takes only the worst from him. Cohn’s swan song is touching and devastating, which stands out in a film that is otherwise “just” a decent and non-tabloidish biopic.

The final minute of Alphonse Gabriel Capone’s decline... Hardy revives moments when, as the drooling Bronson, he staggered through realms of hallucination and incompetence and, exchanging the cigar for a carrot, he shuffles his way to the final scene, which works in its own way. With a few action moments, it’s as if Josh Trank is mocking the audience, who should have known in advance that they were entering only and solely a fading world where holding on to one’s bladder is no easier than once holding power. The demystification is like Chicago. Those doomed to die of neurosyphilis won’t be shot...

今日は... I wasn't expecting horror, nor an action whirlwind, because the Land of the Rising Sun usually goes deeper into motivations and digs into people, and Terminator Zero didn't disappoint. There's less action, but it's properly bloody and imaginative. The combination of situations from the first two films and lots of references are a delight. Story-wise, it definitely could have been condensed and the characters aren't particularly interesting almost until the finale. The concept of creating alternate realities is interesting, but it needs to be tightened up... in the second season? The art is great, the metal skeletons look as iconic as Cameron's, it often reminded me of The Animatrix: The Second Renaissance Part 1. Great music.

There's this new found footage one on youtube, featuring the debut of Curry Barker, whom you may know from his good horror shorts (the excellent The Chair). He’s made a feature film for little money and it's surprisingly good! The film is only an hour long and is about a failed birthday prank that takes a very unexpected turn! The twist is quite unexpected, but what really got me was how this whole situation escalates to really disturbing and creepy proportions! It's got solid acting, decent dialogue, a very disturbing atmosphere. The whole thing feels very authentic, you believe this is really happening, and the finale is really traumatic, absolutely fucked up. The transformation of one boy into a human monster is really unprecedented! Good! Not for everyone, though, because of the form. 7/10.

I like Jeremy Saulnier's films and Rebel Ridge may not be one of my favourites, but it certainly didn't disappoint, even though I was expecting a more intense spectacle in some ways. The first half is excellent, I was downright impressed, it has a cruel and despondent atmosphere, a great Aaron Pierre, he commands respect and gets into a very uncomfortable position. The confrontation with the cops is also delivered very well, they're terrible scumbags, and the whole thing is very entertaining. I also liked the dialogues (army banter), but in the second half they drop the ball a lot, dealing with some kind of conspiracy with a lawyer, who is a completely unnecessary character and because of her the film loses its pace. So you hope for at least a satisfying finale, but the big problem here is that the protagonist is a good guy and realizes that he can't kill anyone, so the action is a bit bland without violence and rough kills, and that honestly bothered me quite a bit. Overall it's an interesting film, but it's more of a thriller with less action at the end, but it's well acted, well shot with a good script and decent atmosphere, just the pacing is quite jarring and the finale is not to my liking.

“...on the last morning of his life...” A docudrama about men who died of natural causes (natural for the activities they engaged in) and, from Roger Corman, an attempt to portray gangsterism as something that played a significant role in the development of American culture. This time, however, without the typical romanticizing where the protagonist is set against the system and the viewer tends to root for him. But it wasn’t just that. Its liveliness resembled a musical, with the choir made up of the sounds of Thompsons, shotguns, and blunt objects, while Jason Robards's theatrical Capone took it to the stage, and the dispute over the gangster Gusenberg’s fur coat and his blonde adornments came close to farce. Those who find Jack Nicholson in a small role can consider themselves lucky...

The golden days of Kristen Stewart, when she wasn't old enough to sign up for Twilight type crap, etc. It's her that gives shape to this generally mediocrely written story of high school violence. Her character, however, is by far the best in terms of acting and screenwriting, and is the only supporting pillar that makes the film worth bothering with. Otherwise, it's nothing we haven't seen elsewhere, more subtly or more comprehensively rendered.

I hadn't given Boo! rating in 3 and a half years (!!), and now I’m doing it with gusto. Nunsploitation, the naughty stuff the Italians used to regale us with in the 1970s, a genre that, together with Nazisploitation, is one of my only two hated ones (otherwise, at the age of 52, I can swallow anything), a monstrosity that was resurrected by Michael Mohan – I saw an interview with him on YouTube, where he wondered why nobody goes to see his film, since he made it so wonderfully (his own words). Yes, indeed, the 2nd half is proper Nunsploitation splatter as if from the pen of an Italian production, but I'm more annoyed by the ideological framework of the whole thing. No, I have nothing to do with the Church machinery, I'm agnostic, I'm bothered by the opulent property of the Catholic Church, including those lavish cathedrals that were deliberately intended to appeal to the emotions of the commoners, but I resent when nuns are made out to be some kind of Satanic evil. I know a few of these women personally, specifically the nuns in Štěken, and they are honest hard-working ladies who do not in any way parasitize society, women pure in spirit who have chosen their path in life because they are convinced of it deep down. It's utterly stupid to mock that, to make stupid jokes about them, and it's utterly perverse to demean their approach to life, or even to put them in the role of absolute evil, as this film does. I'm a tolerant person, I would even say that nothing is sacred to me and I can make fun of everything, but I have my limits too and this is one of those uncrossable ones (along with other crap like animal violence or holocaust denial for example). Those ladies have my respect.

It still has certain qualities; it’s really great that covid didn’t cut the series short, but the part focusing on the birth of the United States is quite exhausting now (though logically more attractive to an American audience). The constant dramas are so repeatedly fatal that it paradoxically leads to numbness. I’ve long stopped investing any emotions in these characters and don’t care about them. Moreover, the time travel has lost its charm because it’s too frequent and constantly used as an easy solution to various situations. The main characters’ family is growing, secondary characters are changing, but the energy that it had in the first three books/series is long gone. The only positive aspect I would note is that Gabaldon portrays the 1960s in Scotland in a soberly negative way.

Pure, unfiltered Arnold at his finest. It’s the kind of film built entirely around one man—the guy who found his niche in Hollywood, not just because he was insanely ripped, but because he had a great sense of humor too. What I wouldn’t give for a star like that today...