Marigold

A predator does not want to die until it kills its prey. But the same goes for the prey. David Gordon Green has carved out and carefully shone a dignified tribute on the unbeatable original, with an amazing soundtrack proving that, like Michael, John's tunes from the 1980s do not age. The atmosphere is dense, the homage is elegant, the camera rides are smooth. The jump scares are not completely inventive, but the atmosphere is sharp ... I see no reason not to get sliced up again.

Apart from the main storyline, The Conjuring is more of a seedbed of clichés with a sloppy build up. The problem with the second Annabelle is that it stays with things for too long or too short of a time. In any case, how it leads the puppet figures purposefully from jump scare to jump scare is hilariously transparent and spoils all my pleasure. A toy shop without any imagination.

It seems that the message is that we are all somewhat whores and jerks and we’ve got problems in the South Polish countryside, where a panopticon of hypocritical, xenophobic and frightened creatures are staggering under the largest statue of Christ in the world, where the metal rags of rebel Jack are sticking out. Malgorzata Szumowská has created an original and poisonous mixture of a romantic fable about inner beauty and a realistic testimony about the state of contemporary Eastern European society, which is terrified of everything new and invokes the non-existent tradition so persistently that it has completely lost face. This is a film that Czech cinema lacks. Imperfect, but relevant and wild. Out of focus exactly like the identity of its characters.

What’s the best method for revenge? Connect the internal automaton and bypass the conscience. A masterful work both visually and acoustically, which in the first half sometimes feels like a mechanical prank, but in the end removes all doubts. Bloody and realistic cyberpunk cleverly working with a minimalist design and distorted filming and a soundtrack that awakens memories of Deus Ex in me ... I'm installing it! Ex Machina without unnecessary feeling of being too smart, a good mixture of B-movie momentum and A-movie solutions.

Beneath the surface of a pleasant summer film about nothing serious (after all, there are only hints of communism materializing here and there) slumbers a similarly melancholic portrait of creative people in a gray ideological dungeon, similar to what this year's Dovlatov offered. There is something typically Russian and deeply captivating in this quiet, proud defiance that the camera captures in graceful trajectories and several plans. For me, some of the "western" musical insertions are unnecessary, although I understand that herein the director points out the non-transferability of cultural traditions and the very unique position of the rock underground in the Eastern bloc. I would cut it down a bit, and I could imagine a more convincing rhythm, but Leto is a summer film with an edge.

Great work, but I am missing a top scene, which was Turandot in part five or Burj Khalifa in part four. Nevertheless, the action component is the best since the Dark Knight Rises, in which Nolan hung a plane on a twine. Cruise is a gambler who, with his courage, fights against time, and the fact that acting stars are dying out. He will do everything to keep the audience gasping for breath and not be afraid to take extreme risks because of it. McQuarrie is able to direct it perfectly onto the screen. It will be over when they say it's over.

A gentle cottage ballad that alternates moments of sharp observation and strenuous deadpan comedy clichés. The points are sometimes lost, but Aleš Březina's music is so playful and enticingly instructive, that when Kačer sits down, one realizes that Bear with Us can touch upon the sentiment of the family and cottage life and the tragicomic aspects of mundaneness. Solidly acted, nicely filmed and simply pleasant - like roasting a marshmallow and eating a few skittles. I’ll take it.

Bigger, but not heavier. Sheridan repeats his interest in macho characters a lot, as if he is able to garner less and less from the dark environment of contemporary America. He focuses only on the depressing scenes this time, which do not form as much of a devastating and mysterious whole. But the craft of Soldado is very good, making it a thriller with tempo and atmosphere. Even in the strongest moments, however, it still looks more like a successful imitation of a film that managed to make the audience vibrate with tension below the surface. A lot of Soldado happens on the surface, but that doesn't take the wind out of Sicaro's sails. Benicio Del Toro's laser vision and lawless landscape are still here.

Lara Croft in Uncharted Territory or the last crusade to go after the mummy Björk. It succeeded. The mix of gaming aesthetics and realism is still quite unbalanced, but Uthaug is able to very pleasantly balance a digital ballast and the physical conception of the action. What’s more, Vikander is great, cheeky, rebellious and doesn’t meet the expectations of those who like to masturbate to cleavage. I had a great time and I hope this party will continue! Definitely one of the best video game adaptations.

Is sabotage of high-voltage towers or the adoption of a Ukrainian orphan a better method for saving the world? This question is addressed by a peculiar "Zen terrorist" in a juicy, ironic, beautifully filmed (and with deliciously sound) by Benedikt Erlingsson, which, like Of Horses and Men, deals with the kind features of Icelandic stubbornness. The revelation of the band, which accompanies the events with an ironic soundtrack, is reminiscent of Roy Andersson's films, but Woman at War is more of a pure "gentle nordic weirdness" genre that can be wonderfully enjoyed.