novoten

From skepticism to crushing punchlines and feelings. Each storyline has its meaning and power, and in combination with the amazing Norton, which will often give you chills, and the meticulous Kaye's camera, relatively purposeless material becomes a rightfully celebrated study of the darkest human aspects.

Shy once again proves his exceptionalism, but as I look at it, the viewers who mindlessly write comments like "where is the point" and add trash ratings to it, only show that it is too difficult for them to understand that when someone creates two thrilling thrillers and adds a shocking ending to them, it doesn't mean that it will be the same every time. My favorite once again showed that he has no competition in his specific mystery and created another excellent work, which I didn't believe in at first in his career. And he still convinced me that an amazing film can be made even from an apparently incongruous combination of a fairy tale and horror. Maybe "The Lady in the Water" is not as complex and emotionally fulfilling as the perfection-reaching "Signs" and "The Village", but Manoj was able to tell the maximum from his own subject turned into a slowly unfolding screenplay. The seemingly controversial choice of Paul Giamatti as the protagonist pays off in the first few minutes when I fell in love with Cleveland at first sight for his loner and sad character. Not to mention the vulnerable Story played by ethereal Bryce. In these moments, similar feelings as in Burton's "Big Fish" or other great storytellers arise in me when I remember "The Lady in the Water". Those who accept the director's rules will be thrilled, but those who want to criticize genre transitions will find as many flaws in the film as they want.

In terms of American classics from the 1940s or 1950s, it can be difficult to find faults, but surprisingly, I see quite a few in Citizen Kane. However, I cannot fault anything in terms of craftsmanship because the camera work is incredible and the weaving and zooming takes one's breath away. In addition to that, the amazing masks greatly contribute to the atmosphere. Nevertheless, I have a feeling of a slightly inflated bubble in Citizen Kane, where several excellent scenes remain only islands in a stormy sea, and I cannot fully immerse myself in the film due to its unnecessary fragmentation, making it feel somewhat incomplete. The film lingers in my mind, but more as an extraordinary event rather than a gem. In this case, Welles proved to be a better actor than a director. 70%

An exemplary way to frighten a group of people sheerly with the power of the mind and suggestion. Brown did not disappoint even on the spiritual level.

"I was waiting for the rough journey of a condemned dealer for justice and clearing my name, and Spike Lee tells more about a sad farewell to a slightly desperate existence. In the end, I was disappointedly bored for over a hundred minutes, only for an amazing finish to reveal itself, leaving a significantly better taste than the film perhaps deserves."

Solid atmosphere and actors, but hand in hand with a repulsive final quarter-hour, it is truly a horrifying experience.

I am surprised myself how bored I was. The entire poetry of the village, nephrites, the river, singing, and wings didn't work on me at all, and the final twist of one of the key characters seemed forced to me. However, Director Miike is a fox, and with the final monologue and last shot that I wanted to see, he earns five minutes to twelve points, so the rating is closer to two and a half.

I can't remember the last time I was so worried about the outcome, while also being so excited about it. Mann maintains his excellent criminal standard and at the same time takes great care not to repeat himself. Miami Vice is not as magnificent of an action movie as Heat, nor does it contain as much irresistible sophistication as Collateral, and yet it is unique. Surprisingly, handheld camera works very well for Mann, and Colin Farrell is his best accomplice in building the atmosphere. When I add the well-constructed soundtrack and the unforgettable, nerve-wracking finale, it becomes another masterpiece from the director.

When someone tells you that the most unacceptable attempt they have ever seen is the Mazací hlava (Lubricating Head), show them Adebar and within two minutes, you will convince them otherwise. But unfortunately, it's not worth it for that time.

From Coppola, I would expect a suffocating and dark courtroom drama, but instead I got a refreshing appetizer that manages to escape quickly despite its length. The pair of cool guys Damon-DeVito and the fantastic slimeball Jon Voight greatly contribute to this. I'm not afraid to say that it is his best performance.