DaViD´82

It has style, an idea and it is fun. But this applies only to the first half hour. Then the theme is runs out, it becomes static and boring and it unnecessarily soon turns (not) in favor of the romantic line in a thousand times seen adaptation of "how a disparate duo finds their way to each other despite circumstances and prejudices"", that is packed with countless clichés. Which wouldn't necessarily have to be bad if there had been least a small spark between them and if it hadn't been the same as the director's Romantics Anonymous. Just this time it is much, much, worse.

A dense and well-played procedural crime movie made in a style of the best movies of the seventies of the French genre school; which is further enhanced by the stylization of Personnaze to young Delon. I think the best thing we can say about the quality of Serial Killer 1 is the fact that it can easily keep up with Fincher's Zodiac and it would have been a success even if made at that time. Let alone today, when such good movies are rather exceptional.

Adaptation of Miłoszewski's original, which has dense atmosphere, excellent cast and is stylish in terms of following genre of "northern noir", where sociological and social overlaps and historical Polish skeletons are addressed. Więckiewicz enjoys this pragmatically cynical approach, which is hardly surprising, since he has been so good in this area that his movies became simply must-watch purely because of him. However, all the strong points are overshadowed by his biggest snag. The creators scores their own goal by the way how straightforward the local investigation is, clearly build up in the style of mediocre genre movies and, thanks to that, completely predictable from the very beginning. Considering that you need to wait so much time until the main character finally understands what you already know from the very beginning after having watched the complex investigation of all suspect that is required by the genre rules, it can hardly be considered a successful crime movie. Paradoxically, it is better and more interesting thanks to its overlap rather than the genre level.

It's not about Jobs's many successes (failures) in Atari, Apple, NeXT or Pixar, so it's not a movie an about a visionary who without doubt influenced the Western world in many ways by them. It is a little more about Jobs, however it is not mainly focused on him, as an extremely interesting person, who combines a capable (willing to do what it takes) and in many respects genius and very intelligent "leader" who was able to sell his innovative vision like no other, with undeniable business skills and charming personality, as well as an arrogant and often unreasonably cruel and emotionally unstable manipulator suffering from a narcissistic personality disorder who does not hesitate to go over dead bodies even of those who are close to him. And that's the nicer side of his dark side. But by far the most it is about the simple relationship of a complicated personality to the world, colleagues, friends and above all about finding a way in life and about an unwanted daughter. It's typically "Sorkinian-style" movie. No doubt about that. However, this time he managed to avoid a frequent weak point of his movies in a very smart way; namely, that his characters theatrically recite and do not speak like real people. And so he immediately captured it as a kind of stylized theatrical performance based on fiction inspired by the reality showed in three acts and returning visits à la Dickens's Christmas Carol. What Honor did well is that, apart from the period format of the individual acts, he stays away from his habits and he completely relies on the frantic pace of Sorkin's energetic dialogs and excellent actors, which is far from just a hymn to the Fassbender-Winslet-Rogen trio.

Although it might seem natural to shortly describe it as "eight-hour Black Swan/Red shoes loosely based on Showgirls", but... Whatever. This description not only seem natural but it may be very apt too because it is about a dark and uncompromising insight into the dark side of the ballet through a self-destructive desire for one's own perfection. The only serious (but important at the end of the day) drawback has to do with the supporting characters, who, given how much space they have, only blend in and are present only to have sex and take off clothes. And in some places it is too dull and boring to its own detriment; especially in the approach to the main heroine, who, moreover, is not very charismatic and is as quiet as a mouse. Which is a big letdown, because otherwise it's written and performed well, and thanks to Arkapaw, it has impressive cool visuals and beautiful compositions of the dances. Although it is not bad, it's hard to recommend it as others have done the same job better and within the shorter footage. However, if you have already watched the "better movies" and want more from this department, then (and only then) there is no reason not to watch it.

A six-episode movie-conceived miniseries (shot apart from Norway mostly in Czech republic) about perhaps the most famous (and from the point of view of the most important point) sabotage of the WWII; Operation Telemark, which confirmed the validity of Murphy's Laws as the course of the operation is hard to believe. The objective of the operation was to stop the production of heavy water used by Germany in attempts to build a reactor for the production of plutonium, but perhaps nothing went according to the original plan... And this series addresses this fascinating milestone from scratch, comprehensively and with regard to historical facts (except for the character of Anna Friel) and does so through three main storylines and numerous black and white characters from both sides. The "scientific" line of Nobel Prize winner Werner Heisenberg, "betrayal" line from the factory after the new manager took office during the occupation, and of course the "saboteur" line itself. None story line is more important and they are all equal. Not only in terms of space, but also in terms of quality (the only drawback is that the second half of the final episode is too quick and brief), although each of them has its own style and themes addressed. And even though there seems to be the risk of the whole show falling apart into three independent lines that play take place in different backyards, the exact opposite is true, since in this way the story lines complement each other.

A two-round duel with probably the most complex and difficult climbing challenge ever (Holeček and Kreisinger could tell); one of the peaks of Mount Meru Shark’s fin. This documentary is not so impressive because it shows the first successful ascent, but rather because it portrays both attempts of climbers in a way that you have a feeling you are standing right next to them. But even so, it is not the most impressive sequence. The most impressive one is the second third of the documentary, which covers approximately three years between the attempts and which describes the life of the central trio. And a lot happened during these three years, that is for sure. If it had been a fiction, no one would believe screenwriters, because you would think something like that simply cannot happen. What ultimately prevents Meru from being an unforgettable experience is, surprisingly, the final history of mountaineering that rewrites the ascent, which also offers one extremely interesting and controversial dilemma. It's hard to say if they had little material about this ascent or if it seemed similar to the first attempt, but it's portrayed way too quickly much and coldly that it's detrimental to it.

Although bad (however nicely subversive) Bond movie, but a nice watch. And it could have been much better. However, the screenplay would have to back a way to long footage without particular reason, the tension between the 007, bond girl and the bad guy would have to work better, and the whole thing would have to be at least a little more spectre-style like the opening scene. Anyway, thanks to the open end, I would like to see another Bond movie with Daniel Craig. And even with the same team.

Despite all the considerable qualities (especially the first half is genre perfection and it is unusually intense), in the last third it turns into "awakening from naivety" and nothing more. Which wouldn't necessarily be a bad thing if it weren't so obvious starting from the scene on the plane (which is about the twentieth minute) and especially if the main heroine wasn't so unrealistically extremely naive (not to be confused with her moral principles), although Emily performed her character well in an otherwise believable procedural movie it seems unnatural and disturbing. And so the viewer waits for the final twenty minutes eagerly until he finally comes to know what everyone already knows for a long time. The fact that the whole thing, despite the naive screenplay, still works perfectly is because Villeneuve/Deakins/Del Toro/Jóhannsson are great together. But maybe I'm just spoiled by Don The Cartel and Winslow that even an absolute masterpiece in this department looks void to me.

It's a kind of madness. An intimate melancholic psycho depression about coping with loss and involvement (or pretending that you belong) into society when you suffer from a mental disorder, by immersing yourself in the depths of the madness that will comfort you and work (yes, solving cases, which is typical for this genre), which more than skillfully combines the best of Nordic noir and British social drama. Praise to the masterfully minimalist, but captivating, empathetic Skarsgård River is perfectly justified, although (not only) Nicola Walker can keep up more than well. Which, of course, can hardly surprises anyone. In fact, It's all about the characters, because the detective line is kind of sidelined. The characters are both well-written and well-played, which will be clearly seen in the final episode, whose strength is based on the impact on the personal level rather than on the twists and turns in the crime line. The BBC simply proves once again (how many times already?) that the playful and clichéd genre theme "a genius detective torn apart by inner demons with ruined personal life" can still be portrayed in a unique way. And in a damn good quality; above all. | S1: 5/5 |