DaViD´82

A proof that the modern Sherlock works so well not because it is incorporated into the form of the modern setting, but thanks to the cast, chemistry between them, style, atmosphere, clever work with the original and exaggeration. Unfortunately, it also proves that Moffat and Gatiss, despite all their (often superfluous, but also not always) recombination and repetitiveness (for both Sherlock and Doctor Who) are transparent much sooner (really; too early, this time it can be seen on both levels in minutes) than it would be appropriate and I bet it was not intentional. As a result, they often ripple water rather than move the plot or characters forward. As a result, it is a special movie whose weak point is that it needs to work on its own (it succeeds in the first half of the comedy in this respect, unfortunately only in the first part), and at the same time it should at least partially follow the previous three seasons (if you close your eyes it does the job) and at the same time it shall not to move the plot forward, in case someone did not watch it and after finishing the third season wanted directly to watch the fourth season.

A film blurring the boundaries between concepts such as power, corruption, the church, good intentions, the mafia, usurious gangs, politics, interests, small/large fish, money, etc. Sollima continues in a style he has already successfully used in the Gomorrah series, and so this Gordian knot of destinies from the far side of Rome on the other side of Rome leads confidently and in terms of style towards a complex criminal movie. In this respect it can't deny "gomorrah's roots "(whether book, serial or movie). Like the influence of the duo Tropa de Elite or The Wire. A well-thought-out script (perhaps only the indicated church line was unused and therefore pointless), the actors, the hypnotic camera and the Martinez’s soundtrack, all this is at the highest level. The fact that it is "only" a kind of pilot for the upcoming series. It is a crime series that is one of the best ever created in this genre in recent years. And in this genre department a lot of amazing staff have been done.

The least Christmas-like Moffat's Christmas specials, but what is missing in terms of the Christmas atmosphere is made up in the stylish of over the top staff. Above all, the first half is one big adventure ride. In the second half, it deviates significantly from the established course towards melancholy, but it is not to the detriment, although the change in style does not suit everyone. In addition, it is all raised to a higher level thanks to the central duo. Not to mention it's not on celluloid, otherwise it might have to ignite because of so many sparks between them. They are unbelievably good together, it would be a sin to be committed to this special if the special will have not have a follow-up.

Theft of diamonds of almost incalculable value, which have the only flaw. They are not for sale. And for this series, MacGuffin's entry point is to get bogged down in the European underworld of organized crime, from Marseille, Hungarian slums to a Serbian gang with ambitions. A film set, raw and uncompromising plot, absolutely non-black-and-white in terms of characters, magnificently played (no wonder with such a great cast), acting in many ways quite realistically and with only one major snag. It tries to be fatal through flashbacks, which connect the live stories of individual characters. And while the short ones fulfill their purpose, the one from the fifth episode, which steals almost all the footage, does not. It is not bad but wasting an entire episode on something that doesn't say much new about the characters in a six-part miniseries will definitely let you down. Moreover, it doesn't even work as the imaginary silence before the storm in the form of the final episode. In any case, it is excellent (not only) criminal à la rough genre of the French school of the 1970s.

In the best possible legacy of Jára Cimrman so charmingly "bad" (whether intentionally or not) with everything mixed up in one basket in a way that it's really good, stylish, nice and funny. Yes, the introduction in the castle and the whole "Sleeping Beauty" part was hard for me to watch (even though it has its bright moments), but the "over the top"" version of the fairy tale about Little Red Riding Hood and the "Frosty-style" fairy tale about the twelve months really got me. I liked it so much that I almost start singing with them out of joy. PS: And with each subsequent watching, I like it more and more. For many years I have not had any movie that would be the one for the annual Christmas screening.

I was a little frightened by the genre designation "Fantasy/Action/War", but fortunately it's a pure Czech film fairy tale in a classic style, which if it didn't turn into a fairy tale of a slightly different nature in the second half and didn't lose track of the first half, would become a modern classic movie for the (not only) Christmas time. This is "only" the best fairy tale of the last few years.

I envy everyone who watched the regular seventh episode. I watched "only" the nostalgic, modified first... I mean, fourth episode. Fortunately, it was for the better. Abrams is a better filmmaker than Lucas and he was really lucky that George did not write dialogs. In addition, Boyega, BB-8 and especially Keira (although the creators claim that his name is Ridley) carry it better than the non-charismatic Hamill and Fischer, and even C-3PO, have ever done in their youth. Of course, this is not the case with Ford. He carried it last time and he carries it now too. It is true that the first half is better than the second, when it partially loses pace (unnecessary part with smugglers) and the scenes made solely to please fans every other second of the footage (at the expense of time when more could be clarified about the new mythology) and so kind fatefulness that looks so unnatural. The Prequel trilogy succeeded at least (or only) in presenting a living universe with thousands of races and interests. This is a step back. Again, we are purely in the wastelands, and the eventual destruction of a "kind of planet somewhere in space" has absolutely no effect on anything or anyone. Nevertheless, an undeniably decent filmmaking, which is pleasure to watch. Especially in moments when it is not afraid to step out of the shadow of the original trilogy and start casting its own shadow. There are only few such moments, sadly, but they are there and they are amazing. So hopefully it will work out in two years in the eighth episode, which will no longer be just a respectfully modified second... I mean, the fifth episode.

Rough, raw, brutal and uncompromising and yet based mainly on the characters. And what will disappoint you even more is the unstyled and rushed ending, which lacks a proper finale and which turns away from those characters. The ending is simply too brief and quick considering how slow was in the first three quarters.

No rainbow, no sunshine, harsh road movie about economic Muslim migrants from Central Africa and their purgatorial journey in search of a better (?) European life, where you get everything for free. It is clear from this that the director is more of a documentary filmmaker. So it seems very real and the central trio will face perhaps every aspect of the negative side of the path to (misfortune) happiness. Apart from the actors, the camera is captivating also, especially the desert parts where the camera does the justice of impressive austerity of the nature.

Fourteen ordinary people on an almost monthly escape across Great Britain versus a professional team of people hunters with surveillance equipment composed of former police officers and specialists (hunters of war criminals, members of anti-terrorist forces, IT specialists, etc.). It is made in the form of a reality show that can perfectly draw you into the action through What would you do and proceed in their place?. In terms of a reality show, this is concept is very simple but brilliant and at the same time so stimulating that it outshines even the obvious fact that "the script is made only to impress" and that sometimes (or all the time?) seems the television production was authorized to watch relatives' calls, CCTV footage, etc.). But it doesn't matter, it's not a competition. It is about getting acquainted with the background of what the state and security forces monitor, what authorization they have, how the mind of a fugitive works under pressure, how (un) conscious habits (do not) help us, what we are willing to put on the Internet about ourselves and so on rather than about a true reality show. This show is both educational and entertaining and has a sociological overlap. And if nothing else, the best moments work really great as an "escape thriller" that can easily keep up with classic movie of this genre, because the participants very quickly succumb to an atmosphere of utter paranoia, where no one and nothing can be trusted. As amusing and exciting as it is (and if you ever plan to be on the run, you will learn what to avoid), the concept could have been used even a slightly better. In any case, if there is a second season and if the creators manage to learn from the mistakes of the first one (it could have been a bit more dynamic and less settled), then it will be a real television masterpiece.