DaViD´82

A perfect cast, but it doesn’t help much. Strong spends too much time in the background, Law can’t keep up with Downey in any of their scenes (while in this movie they are meant to be on level pegging!), Rachel McAdams is uninspiring, the movie lacks any real case, deduction is not employed, but abused like deus ex machina and so Hans Zimmer steals all the attention. And it’s not that Richie is bored; he is having fun, and it works well in some places, but he fell a long way short of managing to reproduce the type of goofy shenanigans like we saw in Pirates of the Caribbean. But it’s clear that’s what he was aiming for. If you want to make an untraditional Holmes movie, you need either a good idea or you need a good Sherlock to base one’s performance on, which Downey does in any case. ♫ OST score: 4/5

In the first half, this movie is almost distasteful, thanks to the “I suppose I’d better be try and be funny" trainer. Then the second half has more tears and pathos than anything else of the kind. Plus the forcibly inserted clash with the US team... It’s almost a shame to waste words on this shower. So why the high score in the end? Well, I have a soft spot for ski jumping and I must admit that they are presented so wonderfully and spectacularly here that this is crying out to be projected in an IMAX theater.

If there’s nothing happening, not even a death can change things (screenplay) and less often means more (special effects). The images we see are often beautiful, but also absolutely empty of emotion. It would never have occurred to me that Peter Jackson would end up suffering from the syndrome that accompanies the works of Tarsem Singh. But in the first half-hour it has everything it needs, including emotions, which are so important for movies like this. But this just makes the rest of the movie that much more painful, because this outstanding “prolog" just proves that the movie could have been different. For instance, more in terms of hints instead of spectacular CGI landscapes.

Everything Baz Luhrmann's Australia wanted to be twenty-three years later, and everything it ultimately wasn't for a moment. A Hollywood epic in the best possible sense of the word.

To survive an unsuccessful landing in the Pacific during the War, at last, after endless suffering in the beating sun with no water to drink to reach a desert island in the middle of nowhere and to meet a beautiful nun there who has the sexiest voice ever (I have to find some more movies with Deborah!), openly seducing you with every glance, every gesture, who doesn’t succumb to your advances; now that really is bad luck, Mr. Allison. But otherwise, in view of Huston’s talent, the interesting topic of the conflict between loving God/a person is addressed rather naively, but because the chemistry between the central two protagonists works so darn well, this shortcoming may easily be forgiven.

In Charly's "first phase" Robertson pushes the envelope too hard, and in general it's shifted from the source material to that warmly human level so typical of films about the simpler intellects among us. But it's still a good film, just from a slightly different genre than Keyes's original work.

A Czech animation classic. Pojar managed almost incredibly beautifully to combine the catchy and original visual aspect with amazing playfulness and unforced lessons, while maintaining the quality at such a high level that this is entertaining for kids and adults alike. The separate episodes that were made gradually over the years all maintain an almost incredible balance that easily survived the later change of narrator.

“Maskerade" isn’t one of Pratchett’s best works. Even so, it’s good that the Theatre in Dlouhá Street chose to perform it. Unlike a theatre play Wyrd Sisters, this is more about production design - it’s more lavish and audience friendly. The problem is occasional uncalled for slipping into cabaret and cheap jokes that just don’t suit an adaptation of a book overflowing with dry British humor. I don’t want to give the impression that this is all just cheap. There are just a couple of moments where it gets like that, but they are not based on anything that appears in the book. And again it turns out that despite the unarguable talents of the Dlouhá Theatre ensemble, Vondráček and Táborský are on a different planet in terms of acting. What actually makes me happy, on the other hand, is the marvelous parodic background music by Jan Vondráček and the second half of the performance, which is considerably better. Because then the overly episodic storytelling and frequent change of locations eventually blend into a powerful unit (this is even more noticeable in the theatre - a lot of it was cut for the TV recording).

From a purely filmmaking point of view, this must have been hell to film in such cramped spaces. And when a chink of space appears, it immediately fills with water. But purely from a viewer’s point of view, it’s good that Cameron decided to go accept the challenge of making it. This has a fundamentally positive impact on the atmosphere. But this makes the ending all the more annoying, because Cameron is no good at presenting (selling) a message like this. The movie simply lacks even a drop of Kubrick inside it and not even the longest of director’s cuts can help.

Bonnie and Clyde - a priceless story. Romeo and Juliet “gangsta"-style. But we don’t find anything like that in Penn’s offering. Instead of character psychology and motivation, we see just illogical leaps in behavior (We’re gonna rob a bank, want to come along? Sure thing!). And instead of fateful love and mutual, sparking chemistry, it’s a one woman show with Faye Dunaway, who overshadows Warren Beatty so much that it is painfully clear that the movie could have done without him. Plus, in my opinion, the omnipresent “redneck" tone buried a lot of the scenes. It doesn’t matter in principle. It’s just a shame that they didn’t approach it more sensitively. The worst part is the scene with the shootout between the Barrow gang with Blanche running about like a headless chicken with the ax. This is the epitome of movie awkwardness for me. Luckily the works nicely, it has style and mainly Faye who holds everything together, in spite of Beatty.