DaViD´82

While the Hitch/Sara storyline is really humdrum and therefore uninteresting, the story about Albert and his courting of Allegra works really well. The whole picture relies heavily on Will Smith’s undeniable charisma, while on the other hand it is pulled down by being too long and by the absolutely wooden and unlikeable Eva Mendes. Even so, Hitch worked for me somehow and I quite enjoyed it.

Another one in the long, growing line of copycats of CSI and its “forensic" investigation style. But unlike many of the other ones, this one at least is a quality copy. The main difference lies simply in the fact that the characters undergo some development and the whole series is held together by the solid main storyline that emerges in many episodes. The cases they deal with are inventive, the right chemistry exists between the central duo and the admixture of tasteful black humor is also a valuable asset in this series. An above-average crime series, but don’t expect anything at all original or groundbreaking from it.

At last a sitcom that doesn’t try to keep everybody happy. Jason Lee in the main role is the epitome of the term “white trash" and, not only thanks to him, but also thanks to the style of humor, it reminds me of something by Kevin Smith. Humor that is not afraid of making fun of anything and anybody, while not stooping to toilet humor. Plus, the creators occasionally spice up the regular pattern with a “specialty"; this creates memorable episodes such as a parody of COPS in season two. Simply almost the ideal comedy series which, as of the beginning of season three, maintains the same excellent quality level.

A TV miniseries based on short stories by King, and not just from the anthology with the same title. Luckily here they have adapted older stories too, which raise the bar considerably, since “Nightmares and Dreamscapes" certainly isn’t one of King’s highest quality anthologies. It applies to all episodes that the creators didn’t manage to capture the mysterious inevitability of the endings, and it also applies to all episodes that they have a satisfying musical score and a good cast - but unfortunately not always good acting performances. Of the eight adaptations, only the first, Battleground, can be described as a “must see". The filming style is ingenious and minimalistic, while remaining powerful and absolutely functional. Plus, William Hurt totally excels in the main role. I rate the individual episodes (not the written tales) as follows: Battleground: 5/5, Crouch End: 2/5, Umney's Last Case: 2/5, The End of the Whole Mess: 3/5, The Road Virus Heads North: 3/5, The Fifth Quarter: 4/5, Autopsy Room Four: 4/5, You Know They've Got and Hell of a Band: 3/5. Therefore, overall a weak 4*. If the creators increased the budget for next time and directed their attention at older collections of King’s works (ideally “Night Shift" or “Skeleton Crew"), they could be sure to attract at least this one viewer (me).

...here we have a poster with South American fresh water dolphins and over there there’s a VHS cassette with a b+w movie on it; on the basis of this information, the murderer is a compulsive nostalgic and a perverse obsession with bodies of water. That’s about how psychological profiles are created and presented by the “professionals" in this series. The template for each separate episode is identical. The directing is tired and the only watchable “trademark" of the whole series is the visual combination of Gideon’s hypotheses with the reality of how a crime might have been committed. It’s not just unwatchable, it is barely mediocre. And, at a time when we currently have more than enough crime series on Czech TV, is simply too little.

Nick doesn’t lie or try to hide the truth... He just filters it. An (a)morally flexible picture not unlike Lord of War. Eckhart is maturing with each new movie he appears in and Jason Reitman confirmed with his (commercial) debut that he is a director that knows how to work with difficult topics intelligently and very comically and it doesn’t matter at all that the picture is a mere revue of scenes steeped in black humor and satire.

Or what happens when a demagogue starts taking shots at people... Pure demagoguery wrapped in great opinionated black and white filmmaking.

Basically, this is like the demo for Bowling for Columbine. That's where Moore perfects his demagogically confrontational style.

A surprisingly bearable movie that is better than some of the more recent adaptations of Karl May’s books about the Wild West. You will find a few really lame and embarrassing gags here, but luckily these are outweighed by a few ideas of genius. Most of the rest of the movie is a decent parody on adaptations of May’s works (once very popular in Central Europe) with some nods to other pictures too.

The only one of all the Asterix films that is a quality adaptation of a storybook adventure. Smart, yet understandable humour, this time spiced with a pinch of English dry humour.