D.Moore

While Robocop's decent revival is clearly inspired by the second Terminator (child sidekick, indestructible adversary), it abandons satire for good and is careful before shooting someone to smithereens, but it is skillfully filmed entertainment. In addition, Basil Poledouris returned, and with him the central motif that the previous film (among other things, of course) sorely lacked.

By the standards of recent films of both Luc Besson and Robert De Niro, The Family is definitely above-average entertainment with stylish black humor and a brisk pace. But what makes it a really good comedy is the fact that the story is not just about De Niro and the other characters, in that his family members and FBI agents are also interesting.

Very stupid and bad. I don't think any of the people involved can be proud of this film. Even animator Phil Tippett, who made the robot villain move perfectly, and yet the result of his work still looks ridiculous, because the direction simply didn't know its bounds. In addition, Robocop has lost its satirical undertone and has become a mere over-the-top action nonsense that just plays on the style of the original film.

With Petr Čtvrtníček, Jiří Lábus, Josef Polášek and Magdalena Sidonová, it's a lot of fun by the water, and the many good scenes in The Catfish Summer were only possible thanks to them. However, it just doesn't feel like a real movie (let alone a good comedy) and the closer it gets to the end, the stronger the feeling is that anything can happen and it won't matter.

Unlike, say, Steven Seagal, I might still be willing to believe Van Damme in such a role. If only he'd played it in a better movie that at least made some sense and didn't take itself so unbearably seriously when it's so stupid.

If Přátelé Zeleného údolí had been given a budget that the gamekeeper Horyn could only dream of, it would probably have turned out quite similarly to Brothers of the Wind - as a thoroughly simple story full of absolutely breathtaking shots of nature. People are (as charismatic as Jean Reno is, and he is!) irrelevant, so to speak, the animals and their natural environment play the main role. That's why I was always a bit disappointed when, instead of the eagle's worries, the boy's worries started to be addressed.

That kind of humour works great in Inglorious Basterds, but outside of it, it is unfortunately nothing but an overly drawn out affair with few really good ideas.

From the very first shot of Robert Redford taking off his aviator glasses and greeting his admirers from the cockpit with a beaming smile, it's clear that this film is all about people being hotshots - in the best sense of the word, of course. The Great Waldo Pepper is about people for whom flying has gotten deep under their skin and they just can't get it out. It's partly a funny retro, but very unexpected and harsh things happen in it, bringing the characters and the audience back to reality, to earth... But only for so long before they can take off again and seek peace and freedom "up there". It's an ode to flying, just like Besson's The Big Blue is an ode to diving. And it has the absolute best aerial scenes I've ever seen in a movie.

Such a promising cast, and so weak. What impressed me most was Will Ferrell’s make up.

A melancholic, relaxing film about the many facets of true friendship, love and passion, with an excellent Jean Reno and (how else) a magical score by Eric Serra. For three hours it transported me to another world where there is quiet, peace and tranquility. I like that.