D.Moore

An unobtrusive and unknown short based on a simple but great idea. Jiří Wimmer is scared and shaking with fear from a TV reading, and it's hilarious funny. And then he realizes that a sinister character from the screen speaks directly to him, follows him with his eyes, and that's still not all. It's perfectly acted and especially filmed, the atmosphere is really stiff and the point perfect. If Kafka had had a sense of humor, maybe he'd have written something like this.

I think this is the perfect Chaplin slapstick that is purely about fun, nothing more, and so it’s one great gag after another until it's over. As a waiter, Chaplin is excellent, whether he calculates spending by the soiling of the guest or fighting with his colleagues and the boss, fleeing back and forth. But then he grabs his skates during the lunch break... And the real concert begins. What he does imply needs to be seen. Ideally several times for as long as your diaphragm keeps working.

Excellent biography of an excellent musical group that Clint Eastwood recorded as... A gangster film? Yes, that's right. Great acting performances, typically precise “uninvolved observer" directing with a few sensational ideas (driving by the windows of the record label), a plausible retro vibe with lightly highlighted colors, and then music, music and music. During the scene during the closing credits, I regretted that the whole film wasn't a musical, because the relaxing five minutes of dancing was more natural and impressive than all of La La Land.

From an ancient school screening, I remembered Hair dimly as a good musical with good songs and a number of scenes that made us feel different things as teenagers. But today I finally saw Hair again, in the movie theatre, and I had to update my opinion. It is a great musical with genius songs and scenes directed in such a world-class way that one must once again admire the talent of Milos Forman. Whether it's the carefree odes sung and danced around parks, a hallucinogenic wedding scene or the finale with a troop-eating plane, it’s all amazing. It also of course concerns the acting and singing performances, and the lightness with which humor alternates with chills is also admirable. The world is about friendship, love, and freedom, says this film. Or at least that should be the point. And that applies all the time. Or at least it should.

A forgettable, average B-movie. It needed a director like Stephen Sommers or Joe Johnston, who would make such deliberately silly subject matter into a better spectacle. John Turtletaub is not very good.____P.S. The Czech subtitles by Kateřina Hámova are once again horrendous. No, “squid" really isn't “octopus," and there were plenty of other mistakes as well.

I was kind of sorry at first that Pixar didn't take advantage of the 14-year hiatus to let the protagonist grow old, and that it was starting exactly from the point where it left off last time. But in the end, I am very surprised at how successful it was. I also like the fact that the second film doesn't stick to that infamous curse of sequels and does not need to be bigger in every way at all costs. In fact, it’s a lot like the first film and is almost as good. Almost. I was tremendously entertained by the whole sitcom part with Bob in the household, because the sight of a clueless superhero is fantastic, and Jack Jack is great as the main source of entertainment. Unfortunately, this entertainment kind of exceeded the (tolerable) bad guy plot, from which I will remember the perfect animation and that group of very strange heroes.

Tom Cruise is an atrocious fool, Henry Cavill an atrocious all-star. The sixth Mission: Impossible is more of an action than espionage film (unlike the previous film), but it's immensely honest and perfectly riveting. In addition to superbly shot fights, shootouts, stakeouts and chases, there are also some completely non-action, but admirably thrilling and impressive scenes (the Parisian policewoman above all) and, so I don’t forget, I give the creators bonus points for the partially confusing teaser that made the film surprise me more than once.

I'll watch a clip from the Wembley concert from time to time because a number of songs here are in their very best versions (“Another One Bites The Dust" is totally unbeatable), but I haven't seen the full show in a long time. To this day. Queen are at their peak here, and Freddie Mercury does as he pleases with the full stadium. Unforgettable, and from today's point of view almost chilling, is his statement that the band is in no way falling apart and that they will stay together while they're still alive. Right after, “Who Wants To Live Forever" is heard which is a new song at the time, and those thousands of enthusiastic fans listen to it with bated breath... But it's pointless to describe it, because it really needs to be seen.

Terry Gilliam and his Quixote don't have it easy at all. The disaster documentary Lost in La Mancha and the fact that filming began again after almost 20 years, raised huge expectations... without the audience knowing exactly what to expect. So it is a surprise that some people are now satisfied, some half satisfied, and some are not. Indeed, Gilliam himself writes in his pre-eminent memoir “Gilliamesque": “If we can finish the film someday, people will probably just be disappointed that we didn't get the ideal of don Quixote's futile struggle with windmills." Well, I'm not disappointed. True, I would have preferred if don Quixote and Sancho Toby had gone on their quest a little earlier and the film was quicker, but the experience of those great ideas and the absolutely perfect performance by Jonathan Pryce made up for it. The best scene, I think, is the one with the ride to the moon and the sun, in which there was absolutely everything from humor to emotion. Although Terry Gilliam did not do better than The Adventures of Baron Munchausen, he certainly did not make a disgrace out of this old dream.

In the “Gilliamesque" memoir, Terry Gilliam writes: “What the camera didn't capture was buzzards. They were circling over our heads waiting for us to die." When I saw Lost in La Mancha for the first time ages ago, I still didn't know much about Gilliam, and I had no idea how (difficult) his other films were to make, but still the result impressed me. Today, now that I'm more familiar with them, plus the day before I see a film that finally came into existence, this disaster documentary is even more impressive. It's a shame it all went so horribly wrong back then, mainly because of Jean Rochefort, but there’s nothing that can be done about that. The windmills simply won for once.