DaViD´82

Do you know such beautifully shot promo clips for the "celebration of football across the world, regardless of social background", which are regularly produced by FIFA, Adidas or Nike during the big matches? So this is the same case, just in a form of a full-length movie with the "story". It is a pure fairy tale that only pretends to be based on Pelé story. Definitely don't expect anything that would reflect his real life story or his career. However, it's nice to watch, but you can't expect anything from it other than the roller-coaster-ride of fun, five minutes of piffle about nothing (I mean about responsibility, motivation, purposefulness, etc.) and five minutes of nice (however unrealistic) football moments and so on until the end.

It would like to be a comic book version of the Dirty Dozen, but it's more like the Devil's Brigade. I mean the unconcealed copy-cat of a more famous and better original, which is worse in everything (from motivations to action), worse but not so bad that it would force you to grab the remote and change the channel, even if you already know that you won't remember anything from this movie as soon as the final credential start. You will remember it only when you come across it in the TV program again. And that's exactly what the Suicide Squad is, characterization is one-dimensional at best (great cast did amazing job in saving the movie), there is no story line (and if there is one, it's full of lapses and illogicality), motivation and goals are barely implied, action is as intense as interchangeable and the style is so hectic as aerobatic flying. But it's not bad (especially thanks to the first half, pace and acting). Only incomplete in terms of that dirty antihero concept and, moreover, significantly shortened in a way that strikes even the layman. However, what is the worse part about it (apart from the poor final scene), is the existence of the animated movie Assault on Arkham, which did the same but much better with grace.

There is a horror line with an overlap, which drowns itself in annoying wannabe symbolic macabre scenes, until in the end it becomes unintentionally ridiculous (let's be a church zombie heroin an honorable exception) forcibly incorporated into a decent holiday indie romance with a very nice couple. Regardless this nice couple.

Decent and magnificent in terms of craftsmanship, albeit ridiculously naive and dull (the current commentary is late by a few years), an action techno thriller trying to remark The Bourne Ultimatum too faithfully (and above all unsuccessfully) to its own detriment. It's not a bad movie in any way (except for the script, Gilroy is noticeably missing), it's just an unworthy and useless Bourne movie.

Kameňák is one of the most famous, most fundamental and, after all, the best Batman stories. It is the pure essence of what Batman/Jokers is about. Like any good "joke", it's short, striking and damn impressive. And therefore completely unsuitable for full-length footage. Which the creators somewhat clumsily handled so that the introductory half is about something completely different, and no matter how hard the creators try to fit it to Kameňák itself, this effort has zero result. It is decent and not that bad, but completely useless padding which is too lengthy and nothing more. Scenes from the second half, which are taken one to one (including picture framing), work, but paradoxically this is also detrimental, as it is not so much an adaptation as an illustration of the original. But what stands out is the great voicover (Hamill confirms that he is still the best voiceover artist) and worse portrayed. It is therefore something between a cat and a dog, which does not give the original a good name (rather the opposite), but it is only and only thanks to the high quality of the script that it will stand up to the result.

In this terrifying world, all we have are the connections that we make. Despite a rather slow beginning when it's trying to find its place and humor in a too forced way, it gradually turns out to be (from the sixth episode of the first season the quality goes up, but that cult/qualitative status "must see" earned it only from its conclusion onwards), black horse (ha ha ha) among animated series aimed exclusively at adult objective viewer, who does not expect the creators to serve him the same episodes one after another, season after season. Although there is a huge amount of (quite specific, based on one-liners, slightly sidelined and thanks to its absurdity it’s certainly not for everyone) humor, the main role has the dramatic story line that ignores every one, even the characters and certainly the viewer too. It has a continuous plot and it is fully based on the development of all the characters. Satirical social reflection and the whole thing is connected by the daily survival of a burnt-out once-famous narcissistic horse (I’m not always the best at being not terrible.) With ugly middle-aged crisis, who is always ready to say something cynical, who is a nihilist to same extent, and tends to have depression, anxiety and alcoholism, self-destructive nature and unrelenting desperate inner desire for recognition/acceptance. And so well (and much better than, for example, Californication/Koalafirnication or Mad Men, to which the main character is closest), that we can say without exaggerating it is a regular (and above all successful) quality TV rather than comedy satiric monkey business (which I don't mean as an insult but rather as an appraisal) like Rick and Morty. Nothing else in the history of television combines such cleverly absurd (meta) humor with brutal ugly sincerity about the relationships of all of us. In addition, it is (also thanks to congenial voiceover) the most emotional series of today (perhaps only Leftovers can keep up). Yes, these emotions are mainly sad, full of unpleasant truths that no one wants to hear, unfulfilled dreams, unspoken sentences, depressed, intoxicated by alcohol, but always and at every moment truly authentic showing normal people lives. Yes, yours too. And it doesn't matter that these emotions are mediated through animated anthropomorphic animals.| S1: 4/5 | S2: 5/5 | S3: 5/5 | S4: 5/5 | S5: 4/5 | S6: 5/5 |

Nostalgic Things... Authentic 80s King style (children's level) Carpenter style (horror level) Spielberg movie (adult level) par excellence, in other words Super 8 done absolutely right. It can't be more retro. You will recognize (among countless others) for example Stand by Me, E.T., Poltergeist, Close Encounters of the Third Kind, The Cocoon, Nightmare from Elm Street, Peanuts, The Monster Squad (simply put, the production of Amblin at the time) and... And not surprisingly, even if everything in it (like really everything, a s mall town, an unbelieving self-grown sheriff, a high school, etc.) is purely overseas 80s, so it doesn't seem like a nostalgic copy, a parody of itself or in any way contrived (namely there are two allusions per every minute of the running time), on the contrary, it stand firmly on its feet. In other words, this one doesn’t pretend to be 80s. IT IS 80s in terms of visuals, Carpenter's-tangerinedream musical undertones, mood and generally by atmosphere. And by far the best part is that all of the above is just a foundation for a graduated, mysterious, captivatingly disturbing and deliberately insight into a intentionally second-rate cliché story, which is also enhanced by acting performances, including those of children (after all, you can see on their cast how much it is faithful at the time, none of the children is nice or cute), and everything is dependent on their performance (what such Millie Brown can play only using her eyes, her much experienced, awarded and older colleagues can only envy her, because in spite of everything it is mainly and above all a children's (but not childish) expedition for adventure. If the 80s shaped you, so using the words of Charlie Sheen... What's not to love? | S1: 5/5 | S2: 5/5 | S3: 5/5 |

Top Gear Specials "we go to the countries of mostly the third world" are traditionally the showcase of the show. But with the exception (yes, the exception and not the exceptions) confirming the rule, one episode is better than the other. And the Bolivian "Wages of Fear" is among the three most successful of all, which means a lot.

Do you know the saying that anything that can go wrong will go wrong? So the Graduation is a movie about that everything what can possibly go wrong will. And not only once but multiple times. Mungiu is really good at making movies, that's for sure. The problem is that, as in the case of 4 months, the escalating personal tragedy itself serves as a means of reflecting the society and the conditions. But where in 4 months it went nicely hand in hand together and it was always mainly about those characters, it works here in an exact opposite way. As if the story only served as a justification for more and more overlapping comments and the fate of a doctor whose journey to hell is paved with good intentions, are somehow extra and sidelined here. And it is in the mode of "I go after this and that, bit by bit I retreat from my principles and succumb to the corruption that is on every corner and I'm more and more stuck in a self-destructive spiral" considerably repetitive or in other words kind of annoying *boring*.

Or in other words how the originally unqualified Danish substitute gained great victory during the EURO 1992... I hoped that it would be the Danes who would be brave enough courage to trample on the classic scheme of sports-celebrated films about outsiders who become famous despite the expectations, and take it all at least a little subversively. And at first, surprisingly, these hopes are fulfilled, because it begins in a way of Okresní přebor. However, from the moment Yugoslavia get eliminated due to the conflict, it starts to follow that classic scheme "team made of quarreling individual stars, outsiders who are only makeweights even whose fans don't believe in them, who step by step unite, find their way to themselves and how to play, improve and finally they shock every one with their success so many people will be touched. It couldn't have been more mediocre, even if the creators deliberately had tried to do so. However, it could still work, have emotions (except for moving story of Vilfort's life, they remain sitting on the bench and do not get into the game at all) and the football segments alone could have had the appropriate drive, which they do not have, as they are a disparate mix of archival footage with artificial fiction which is conflicting if together. As a result, it is a mediocre sports standard, which somehow works mainly thanks to Ulrich Thomsen, who handled well the most clichéd possible role of a skilled coach, which goes against the flow.