D.Moore

A trouble-free film, which was surprising to me. Dwayne Johnson and Ryan Reynolds are an unexpectedly great comedy duo, and although neither of them almost ever leave their comfort zones, I didn't mind at all because they are convincingly amusing and not awkward. And Gal Gadot keeps up with them and is more than just a useless pretty face. Red Notice masks the simplicity of the plot with a variety of situations that all three find themselves in, as well as the fact that the film makes fun of itself. For example, when one scene starts to resemble something like Indiana Jones, you can be sure that in a while someone starts whistling the fanfare of John Williams, and the action scene that confirms the affection for Indy lurks around the corner. I liked that the script wasn’t forced, that it didn't need jokes at all costs, that it was imaginative, and although it quotes or recalls all sorts of stuff (the scaffolding scene belongs in Pirates of the Caribbean, etc.), it doesn't steal them, and it is, or tries to be as original as possible. I wanted to be this satisfied with Army of Thieves, for example.

Well... I also liked the Polish series, which we stayed up late for week after week back in high school so we could discuss what we'd seen in the morning and how (un)different it was from the books. Even then we scoffed at some of the changes, the gimmicks, Marigold, but we didn't mind because the show was just fun, had a great atmosphere, and Geralt was our hero. This is actually pretty much the same case, except that the new Witcher with the excellent Henry "Mhmmmm!" Cavill is even more entertaining. It has a better Marigold, better tricks, and is much better told – the clever interweaving of the three timelines felt original and fresh, and I enjoyed it whenever the series subtly reminded me which timeline I was in. The last time I read Sapkowski's books was fifteen years ago, give or take, but they were so excellent that I still remember quite a bit of them, especially their atmosphere, which in spite of its departure from Slavicism Netflix has managed to revive nicely. I probably liked the Striga and Hedgehog episodes the best, but each had something to it. Plus the beautiful music!

For most of the film, I wondered what it reminded me of - not the plot, but the light style of humor, sometimes balancing on the edge of perhaps too simple, but still effective fun. I finally figured it out - Police Academy. Seriously, imagine instead of a bunch of people trying to (not) be police officers, three luxuriously living prisoners trying to (not) be prisoners and stealing at the same time, and there you have it. It’s not memorable, but it is still a very pleasant comedy in which Peter Sellers doesn't act like he’s off the rails, but that is quite alright.

Now I have no worries about the new MCU film phase. Yes, Shang-Chi received the same rating from me, but I did have a few reservations about it, but I can't think of a single complaint about Eternals. The film is surprisingly very much about the characters and the relationships between them, and that's the nicest thing about it. Of course, there are action scenes and they are great, but that's not the main thing Eternals has to offer. These are new and completely unknown heroes, of which there are quite a few, but thanks to the elaborate script and their representatives, they are not interchangeable and we get to know and understand them well. In addition to the characters, the film also miraculously manages to explain a completely new mythology, link it with what we already know, and offer a BIG promise for the future. The finale is one of the best we've seen from Marvel - something big, truly huge happens, but it doesn’t just happen "to make something happen," but rather is logical and entirely appropriate. Pure 100% satisfaction.

An amazing comedy from my favorite era. I didn't know it, but I enjoyed it all the more, and I'm sure it wasn't the last time. Blier, Lefebvre and Serrault have spun a huge fun carousel in these public toilets, to which Tsilla Chelton gave even higher rotations, and no one can be sure how it is going to turn out. In a perfect universe, The Restroom Robbery (the original title suggests that this is not going to be a completely normal matter in the best sense) has long been the same classic in our country as the best French escapades.

Not particularly revolutionary, but still worth seeing the puzzle piece called Louis de Funès. The plot is uneven and there are too many characters, but Squeak-squeak has its moments. Of course, it is not very comparable to similar, but much better, theater-scented pieces that Master L. shot later (Oscar, The Gazebo, Hibernatus).

I was waiting see what it was all about in the end, and it was almost about nothing. It's a pity, it's truly a shame, because the first three-quarters of an hour or so was really fun and promising, Matthias Schweighöfer is likeable and obviously he shines in front of the camera, and the music (yodeling in a nightmare) was also quite funny. In the end, however, it became a television film that would have needed a better script or a significantly shorter runtime.

How is it even possible that the same people who thrilled me so much with the previous film three years ago, this time shot something this... Strange and bad. About half of the runtime is taken up by unintentional jokes, a few intentional jokes, the rest is carnage, because Myers is raving nonstop this time and soon it starts to get old and annoying. The very beginning was great, and yes, the retro atmosphere was successful and the (quite one-sided) fight with the firefighters was good, but then it started to get worse and worse. I didn't care about the new characters and I was sorry for Jamie Lee Curtis getting pushed to the sidelines. In the end, I almost lost my head. A pity.

A film with a great and very important idea for me personally: The world is becoming more and more interconnected, everything is accelerating, but what does one really have from it all? I had no idea that The Hummingbird Project had come into being, and I am even more surprised. At first I was afraid it would be a variation on Fincher's The Social Network, but unnecessarily - it's something completely different, but with the equally excellent Jesse Eisenberg, the surprising Alexander Skarsgård and the divine Salma Hayek, who got the least interesting character, but it was still a joy to see her act in something that's not a silly comedy.

I like it when the film takes me to a whole new world and it does it so believably that after a few minutes I have no doubt that I really am there. I think Avatar was the last to do it, and I'm glad that Dune was able to do it now. I don't know how people who didn't read the book are going to like it, but I felt at home on Arrakis and I enjoyed the beautiful design, the architecture, the design of the ships, the costumes and the precisely cast actors as much as the story with which the creators (assuming that there will be a second film) matched as best they could. Where Herbert's book gave them space to delight, they delighted, and where they could take something away, they did so in their own and in the audience's interest. Yes, the book is much richer thanks to the constantly flowing thought processes of all the characters, and many more things are obvious in it than in the film, but I did not feel that the Dune lacked anything significant. A separate chapter is the music of Hans Zimmer, which I must honestly praise again after No Time to Die. I can't imagine that the second film won't be made, so I’m not even going to imagine it and I'm looking forward to it.