D.Moore

Formula One racing is among the sports I'm interested in, as long as I see a good story behind it. The story of Niki Lauda (and James Hunt) is like that of course, whose book “My Years with Ferrari" I read several times, and I was always fascinated by Laud's perfectionism and the cold mind, under which of course, the mind must be boiling. And that's exactly the kind of Lauda film Rush showed me. Daniel Brühl looks like his double and pointedly plays on that thin edge of unsympathetic arrogance and sympathetic genius the character needs. Chris Hemsworth is just the same as the young man Hunt. And the film tells their story with different embellishments, but that important “ice versus fire" and that hostile mood is there. In addition, the races are superbly filmed, Zimmer's music fits... And the whole part in the hospital, especially the putting-on of helmets, is so plausible, as if a person was watching a documentary (like the most impressive scenes from Senna).

I'm not familiar with Doyle's short story, so I'm missing the comparison this time, but the film is extraordinary. Holmes has a great adversary and the story can go almost any way. The scene when a battered Jeremy Brett shows up in Gruner's office with a gaze like some kind of angel of the apocalypse is flawless.

I liked Jupiter Ascending, I liked John Carter, too, and I think Valerian and the City of a Thousand Planets is much more similar to them rather than the mentioned Star Wars. It also has something that the two stories mentioned don't have - 100% sympathetic main characters, finally a pair that has spark from start to finish and who is a joy to watch and listen to. Although the film is not original in terms of story (that would be hard, considering this is a 40-year-old book), its workmanship and smilingly adventurous atmosphere playfully make up for it. Perhaps only Alexander Desplat's music didn't make me feel how I would have liked this time.

A modern romantic fairy tale with the breathtaking Blake Lively, a story that is easy to understand and with a very interesting and also original role for Harrison Ford (not including the fact that his character’s name is Jones and he is a doctor). I also liked the representative of Ford's “younger version" - tell us, Mrs. Ingruber, what happened back then?

Another very elegantly solved case. Too bad Holmes didn't gather more evidence of innocence to make the ending more believable.

Bloody video game theater, actually a one-act film, which is mainly about Salma Hayek liquidating assassins trying to take down her and her family. Don't expect more than skillfully shot and gradually enhanced action scenes, a nice runtime and occasionally slightly black humor, and hopefully you won't be disappointed.

The original playful to musical mood that Baby Driver initially enticed me with, unfortunately, either got old or lost completely during the film. It's certainly not a bad film, the action scenes have swing and the music is fine, but the villains are almost more interesting than the main protagonist and the story is... Ummm... It didn’t do much for me. Three and a half stars.

An excellent film from a believably elaborate world in which part of Mexico was inhabited by cephalopods from space. We won't see many of them, but the better scenes are with them, because from start to finish we are in one ship with sympathetically ordinary characters, not any soldiers, scientists or superheros. Moreover, Gareth Edwards obviously likes Steven Spielberg and understands his work, and so he can afford, for example, in an automobile attack scene, to almost quote Jurassic Park without it being ridiculous or conceited - on the contrary, it's great, and I can already understand why he got the offer to direct Godzilla and why it is the way it is.

I was looking forward to a good war film, and I got something even better. Dunkirk is, above all, a very cunning war film, told in a style that makes an already thrilling story even more thrilling and from start to finish a very tense spectacle. It's ambitious and impressive, yet not as unnecessarily self-important as, say, Interstellar. Also, the sparing runtime befits the film. The melancholy mood in the style of The Thin Red Line mingles here with impressions of A Bridge Too Far, each episode has meaning and the viewer is delighted when the splinters of that little-big drama gradually come together one by one. After some time, I really liked the almost continuously playing and very non-traditional music by Hans Zimmer.

What I liked the most was the classic moment when Watson is convinced he knows what’s going on, but he doesn’t.