Stanislaus

Thanks to the pervasive absurdity and tragicomic nature of the "little people" Somewhere Over the Chemtrails pokes fun at, it (blatantly) reminds of Forman's films from the 1960s, and even though it is set in the present day with all its modern conspiracies, it portrays equally limited people with their flaws and strong tendency to believe in all kinds of bullshit – the dumber the better. Rybanský manages to portray the world of a small village and its inhabitants who suddenly have to deal with the threat of "terrorism" in a quite faithful way. Next time, the director could easily go more to the heart of the tragicomic, but this is still a noteworthy film from a domestic production.

I love the original "Jurassic Trilogy", especially the first part, so I was delighted when the opening part of the new trilogy hit the big screen seven years ago. While the first Jurassic World didn't have the magic of Jurassic Park, it was a beautifully nostalgic throwback. However, with the second, and also with the third Jurassic World, I felt that the magic and "childlike" excitement of the dinosaurs had faded at the expense of a story that wasn’t always solid due to the script. After screening Dominion, I had really mixed feelings: on the one hand, I was glad to see the old trio together in action after many years, while enjoying the many references to the original trilogy and the many new dinosaurs; on the other hand, I was sorry that that nostalgic touch was often precipitated by shallow lines, while at the same time you could feel the untapped potential of the aforementioned trio and some crucial scenes (like the final dinosaur battle). But the first sequence with the "lizard with a scythe" was absolutely fabulous, as was the massive action set-piece in Malta. I understand that global disaster scenarios are fashionable these days, but I simply enjoyed the adventurous and "family" Jurassic Parks more.

The Cursed Cave mixes beautiful natural scenery (snowy landscapes, a deep lake, distant green hills, stalactite caves) with an enchanting fairy tale story (good vs evil, harmony with nature vs greed) and a somewhat flimsy script and strange casting. The production design and costumes are of a high standard (perhaps only Predrag Bjelac looked more buffoonish than the magician with gunpowder), and the story, though not innovative but purely fairy-tale and educational, had its charm. In the first third, the sequence of scenes with the seasons was quite lame. However, the biggest stumbling block was (for me) the cast: some actors and actresses seemed to me rather stiff in their roles, and Tanya Pauhofová was not a happy choice for the villain, while the demonic Karel Dobrý overacted in a role that suited him at first sight. In the end, though, this is still a good co-production tale for just one viewing.

While LGBT films with a dance theme are not unusual (And Then We Danced, Five Dances, and even Billy Elliot), Louder Than Words benefits from the fact that one of the main characters is deaf, which takes it out of the shallow waters of triteness. A sweet and enjoyable short about (not only) the fact that important things don't always have to be said out loud.

Not counting Hot Shots, I only got to the first Top Gun two days ago so I could go to the cinema to see the second part, which is now being talked about in superlatives everywhere. Since I've only now seen the first one, I couldn't approach the second one with some nostalgic anticipation like a meeting with an old friend after many years. The first film is a pure product of the 1980s, but it certainly can't be denied a certain cult status as a guy's movie. The sequel, which landed in cinemas after 36 years, really surprised me in many ways. Although it once again exudes that macho, sometimes pompous atmosphere, it doesn't feel as flat (or as slightly silly) as its predecessor, and even has more than one powerful moment that occasionally caused a thick concentration of onions in the cinema. I also loved the casting of the charming Jennifer Connelly, and even Miles Teller, whose nasal voice (like Tom Cruise's) hasn't really suited me so far, but which surprised me in this film (plus the make-up artists managed to evoke a striking resemblance to Goose). I also praise the small but all the more impressive role for Val Kilmer. From a technical standpoint, this is a solidly done piece, with a number of breathtaking shots, some of which subtly reference the first film, while others take full advantage of today's technical capabilities. In the end, it might not be a pure five stars, but I have to admit that Maverick really got me this time.

Seven seemingly diametrically opposed men - of different ages, professions and backgrounds - face an extraordinary adventure that is (ideally) supposed to change their lives for the better and give them hope for a better tomorrow. Men on the Verge of a Nervous Breakdown does not tell an unusual story, and the development of the plot and characters proceeds pretty much as expected. Even so, it invites the viewer to reflect on the fact that all of us face problems of various kinds that need to be talked about until they reach that imaginary edge. I loved the picturesque natural locations.

After the iconic Hot Shots, this is basically my second encounter with Top Gun. I would have probably ignored if it wasn't for the sequel, which is currently receiving praise from all sides. Top Gun is an 80s movie with all the trimmings, which has its advantages and disadvantages. Maverick is the quintessential example of an arrogant, self-centred, ruthless macho man, but – as it happens – he has his weaknesses, as evidenced by his relationship with Charlie and Goose. From a technical point of view, it is a solidly made film, brimming with badass action and more than one decent sequence, but the script is a rather mediocre affair that may not appeal to everyone. Alongside that characteristic 80s machismo, heroism and romance, the amazing theme song “Take My Breath Away” is an integral part of the film. If I had seen the film when it was released, I would have certainly given it a higher rating, but now it's worth a better three stars.

Heartstopper doesn't tell a complex story that we haven't seen in a similar form elsewhere (currently, for example, in Love, Victor), and there are no outright shocking twists, but it is so incredibly sweet and charmingly told that you can forgive its simplicity and directness. Even when the characters faced some difficult problems, there was an incredibly positive atmosphere throughout the eight episodes, which you could binge in one sitting, and I found myself grinning with joy several times while watching them. There were also some powerful moments that moved one in a non-violent way. The central cast was well chosen, in addition to which I appreciated the smaller role for Olivia Colman and I also enjoyed Tobie Donovan (Isaac) and Jenny Walser (Tori). The second season, which absorbed me even a little more, offered a deepening of the relationships between the characters alongside a partial change of setting (Paris) and bit into other interesting themes (asexuality, bullying and its consequences), setting the scene for the next season. I must not fail to praise the animated rendering of the characters' feelings, which reminded me of the short film In a Heartbeat, and the enjoyable soundtrack. I believe there are many viewers who will find themselves in the characters, and although I am often skeptical of teen-casting, in the case of Heartstopper I was satisfied with one or two exceptions.

A bookish short in the true sense of the word about shyness, fear of rejection, communication block and the need to "read between the lines".

The creators Serial (Bad) Weddings venture for the third time into the waters of seemingly racist and xenophobic humour, which is still very correct and makes you laugh, even if the charm of the original first film is a bit gone. The ensemble has grown to include more characters and I think the number of them bordered on the excessive, but you can still follow them. For ninety minutes you are once again immersed in the joys and sorrows of the large Verneuil family, whose members are put to more than one test. The character of Helmut was downright unnecessary and the plot could have done without him. I hope that this is the conclusion of a trilogy whose possible sequel will have quite an uphill battle, and might end up being too overcomplicated. A weaker four stars!