D.Moore

I was expecting a clever point during the ending, an unexpected revelation (for example that someone also woke Chris Pratt up)... Well, unfortunately, this is not a film for lovers of such things, because the finale is full of action, highly digital and very interesting. But I liked everything before that, and I kept asking, “What is he going to do now? What will she do when she finds out that he...?" and so on. I was extremely entertained by the robotic Michael Sheen and the romantic storyline of the main (only) protagonists, and I enjoyed the mystery which... which then screwed up the aforementioned ending. It’s too bad, but a lost two hours it was not.

I liked it more than the praised Arrival. Of course, it was different in many ways and a more modest film that did not deny its TV origins (unlike other Netflix films I've seen so far), but it had a great atmosphere, it was original, the characters interested me, and I got this pleasantly adventurous feeling of discovering the unknown.

Bloody fun. Immensely stylish (when I think about it, McG is actually my favorite, but he does not tend to get very good scripts) and with a hugely likeable young hero. Don't expect horror stuffiness, it's mainly a parody. With liters of obviously fake red liquid and the famously used song “We Are The Champions."

Gene Wilder has never let me down before, and so even in this overlong comedy, his guileless looks interlaced with bursts of desperation or aggressiveness were the best that it had to offer. With Richard Prior, Wilder's comedy is additionally superbly complemented, and a number of their joint gags were a joy to watch. It’s too bad that the story of Stir Crazy had no point and was almost 100% uninteresting, which in the end was compounded by the boring rodeo.

This was quite terrible. Way too long, boring and full of almost willingly desperate or, in turn, horrendously affected creations. Particularly Taťána Vilhelmová could have graced more than one film by Zdeněk Troška with her performance. That’s all I have to say about it, other than that I’d prefer to see Lucifer Bolek Polívka in another, better fairy tale.

The Hitchcockian tension from start to finish doesn't spoil the (sometimes right, sometimes wrong) impression that the viewer is one step ahead. Get Out is a straight-up psychological horror thriller that puts most of what passes for horror these days to shame, and it’s also a smart film.

An affectionate explosion of ideas obviously loving not just Spider-Man, but comics in general. The animation is very original, the stylization is often insane, but at the same time insanely impressive, and when you think nothing crazier can happen, it does. But what's most important from my point of view is that it's not just a comedy that’s off the rails. The film is just as powerful, if not stronger, in the quiet personal scenes in which emotions come to the forefront. It is, in short, an entertaining and truly great spectacle with a poignant dedication to creators Lee and Ditko. And I prefer not to know how many details I missed the first time.

I certainly can't say I was missing anything in Aquaman. On the contrary, there were, I would guess three or four blockbusters in it, and it was because of this screenwriting and directorial fever that halfway through the film, I experienced almost too many of the possible and impossible action-filled scenes, explosions, duels, gritty stares, pubescent (but fitting) jokes, breathtaking design ideas, and special effects. But I don't want to criticize too much, because after the teasers I was actually expecting something exactly like this - the Flash Gordon of this millennium. I was also sad about the fact that at the start the film presented a great villain with an understandable motivation (and the scene in the submarine was seriously ruthlessly burdensome), only that later... it almost didn't take advantage of him and made him an ordinary fighter. It’s too bad, Black Manta didn't deserve that, his character is definitely capable of more. As for the actors, Jason Momoa is tremendously sympathetic, but we already knew that, so I was surprised and delighted mainly by Amber Heard's comedic talent. And Rupert Gregson-Williams composed another very good comic book soundtrack after Wonder Woman that can be seamlessly listened to separately (and I don't even mind that it resembles Mothersbaugh's Thor: Ragnarok).

A modern western with everything, even with a straightforward uncomplicated story that is not stupid. And although I liked Sheridan's Wind River a little more, I have no reason not to be satisfied. The script takes great care of all the characters (even the smallest ones, such as the old man in the bank or the waitress - actually waitresses - in the restaurant), the actors are perfect, and the directing and the camera make it all great. Add the music of Nick Cave and Warren Ellis, and the fact that this whole thing has the zest of Sam Peckinpah films, and you'll understand why this isn’t the last time I will watch Hell or High Water.

The weaker spots were there, but they didn't bother me - I took them as little snippets amongst the hilarious funny scenes. Besides the photographs being taken at the police station, I almost went crazy when, for example, Gene Wilder “quietly" penetrated the greenhouse. That really has to be seen. Last but not least, I liked that the film didn't make fun of the blind or the deaf, but also that at the same time it wasn't too careful - in short, it knew the right measure.