D.Moore

I love these films - quiet slow melancholy, nostalgic reminiscing about the old days, and the sympathetic main characters and their interesting story. Everyone knows or guesses how it turns out, but it's not about the destination here - it's about the journey. The Highwaymen is, in short, a great “modern" western about two retired cowboys and their (last?) chore, and Kevin Costner and Woody Harrelson literally shine in it (a big thanks to anyone who thought of putting these two together). The film keeps its distance from Bonnie and Clyde, but it's only to the benefit of the cause - they don't put as much attention on each other and act as a creeping, uncalculated evil (the closest we get to them is when Hamer and Gault get to them, but that's too late, of course), dangerous because of what they've already done and what they can do, and what celebrities they've become. There are a lot of question marks and exclamation marks throughout the clear and familiar story that still apply, and I get the impression that this is not only the best Netflix film I've seen so far, but one of the best films ever. I could watch the scene with Clyde's father over and over.

A worthy tribute to our master of fantasy. The documentary clearly did not want (and could not) encompass everything, so it focuses mainly on Zeman's love of storytelling, and on the love of audiences and colleagues alike for his work. I fully trusted Terry Gilliam’s enthusiasm, Tim Burton not so much - not that I doubt him (maybe in Batman there is one scene in which the protagonist is classically animated and it's typically in the Zeman style), but rather due to the fact that his three or four concise sentences are taken from the show Na plovárně, and they say almost nothing. On the other hand, I would completely get rid of the uninteresting Kamil Fila and give his space to Karl Zeman, who perhaps could say more than the final sentence from the recording.

"Thanks, Grandpa." – "You're welcome, dykes." Clint Eastwood is a sure thing. While The Mule (if you compare it to the last few films he's been in) isn't as strong as Gran Torino or Million Dollar Baby, it's thankfully much better than Trouble with the Curve. It's a fun and touching film with a laid-back atmosphere interspersed with some suspense, with one incredibly admirable guy in the main role and the director's chair. Earl Stone is one of his most sympathetic characters.

I guess it's on the level of Mad City – nothing too original or surprising, but a well-acted and seamlessly shot film with a good concept. George Clooney and Julia Roberts are one of those dream acting duos and would draw attention to practically anything, so it's a good thing they don't waste their star potential. As for the script, I liked that everything took place in real time and I enjoyed all the black humor and satirical quips.

A spy thriller with a pleasantly old-school edit, in which it's not about action, but rather suspense, and who, whom, why and how it ends up transferring. I liked it, and both Jennifer Lawrence and Joel Edgerton in particular were great. But I especially have to highlight the James Newton Howard soundtrack - he was heavily inspired by Tchaikovsky and if his overture was played in a classical Russian music concert, probably few would think that it doesn't belong there.

I like short stories. It's quite a complex discipline, because the creators have to entice, surprise, get a real story going and still somehow end it so that the viewer doesn't feel robbed at the end. Most of the short stories from Love, Death & Robots were successful in this regard. Whether the shorts were purely action (serious or funny), whether it was a comedy about a yogurt that took over the Earth, or three robots - tourists in a post-apocalyptic world, whether it was unadulterated horror with Dracula, in a way we haven't seen before, or with werewolf soldiers or an abandoned astronaut, whether it was philosophical reflection or a magical desert ghost story... Everything impressed me in some way. The variety of screenwriters, directors and animated films gave it drive, so almost every film is animated in a different style and conceived differently - once it affectionately references Aliens, other times it parodies The Terminator with the same love... I'm going to watch a number of those films again._____The second series has fewer episodes, but both the quality and diversity remained. I could see perhaps every single one of the shorts as a feature film, most probably the last installment with the giant on the beach. It was perfect.

If this substance got into Steven Spielberg's hands, it could have been a second Munich however, this doesn't mean Operation Finale is a bad film. Not at all. The story has something to say, it's very well shot and helps itself with great music by Alexander Desplat, and the acting cast is ruled by Ben Kingsley and Oscar Isaac, although the others - lesser known actors - are not bad at all, and they were fine in their small roles. We still need to be reminded of some things and this is a good reminder... whether they stick to the facts or not.

I haven't read the book, but I think the main message of the film is that in order to obtain something good or beautiful, we often have to sacrifice something. This idea appears in The Affair from the very beginning, and the very last scene confirms it. I had no problem identifying with it. Moreover, the film is made at a world class level and Carice van Houten, who I already liked in many films, is absolutely breathtaking. Villa Tugendhat as an attractive venue and a silent bystander witness to all these events... It succeeded in spite of a few downright film clichés (making love during the night on 21 August 1968, for example).

More than a good idea, sympathetically straightforward execution (do not seek any place to rest here, there's always something going on in Child's Play, and sometimes it's better, sometimes worse) and great special effects that, in short, I have to admire even today. When Chucky first comes to life to the fullest, it's really a shock, and I clearly remember what that scene did to me once upon a time in my teens. Maybe I would have liked a breakup of the storyline with Andy the murder suspect, and I'd probably be happy especially if the adult characters were able to think a little more, but on the other hand, that would take away much of the film’s charm. It's still great, though.

Why this remake originated remains a mystery to me, but the main thing is that it's an excellent film. Just like the original. When I compare Cold Pursuit to In Order of Disappearance, I have to say that it has overcome its predecessor in some ways. How, you ask? Through Indians. They brought with them such peculiar melancholic poetics, a reserved and cynical longing for the old days, and for me, they fit into the story better than the Serbs the last time. And the music is better, too - George Fenton composed an excellent soundtrack that I've been listening to for some time and I'll continue to listen to for some time to come. Liam Neeson is excellent in the lead role, though of course he has played a character like this many times before, but he hasn't played one in a film like this, and he probably knew that fact when the role was offered to him. I'm guessing he had a good time (when he laughs during the final reckoning, you have to laugh with him). As for the directing, it's true that Hans Petter Moland didn't come up with anything new and just repeated what he knew was proven and occasionally improved it slightly (if that was even possible). But the main thing is that he kept the mood of the film where he wanted it, and that the way a silent depression gradually becomes a black comedy and almost made it a crazy spectacle is still impressive.