D.Moore

A very good thriller, especially really impressive from the evacuation of London until the end, because the oppressive shots of a deserted big city will probably never get old. I was a little confused that by far the most prominent figure of all was the fugitive scientist, while the script sometimes diverted the positive heroes who followed him to the side halfway through the film, although at the beginning it promised something completely different. It probably wouldn't have happened to Hitchcock, whom I often thought of while watching this.

This is a big leap up from the still somewhat controversial Out of the City (which I now prefer more and more). To the Woods again has a strange (non) story like its predecessor and the same bizarre characters played by deliberately overacting (non) actors, but in terms of atmosphere and poetic mood, it is a much less aggressive and much more pleasant soothing film, which, despite all the bizarreness, perfectly and believably tells about life in the village and in nature, about the common worries of ordinary people, about their values... Vorel doesn't moralize, but at the same time he shows us how he knows and sees it all and how he imagines it should work to make the world beautiful. Of the actors, in addition to all the proven aces, I have to highlight the perfect central pair.

I didn't expect Schumacher to be as amazing a documentary as Senna... And it's not. But it is definitely a good documentary, excellent in some three quarters of the film, but above all, the conclusion lacks something that would make it a great experience. Not perhaps a current shot of Schumacher or tabloid details of the accident or his condition, but simply something other than the lukewarmly careful something that is in the film. Otherwise, it is an excellent, captivating documentary, which, of course, highlights the protagonist, but also does not protect the dark sides of his extremely competitive nature. The two passages that have to do with Ayrton Senna (one of which is the famous press conference, of course) brought tears to my eyes. It was definitely worth it, and not only because of them.

In my opinion, an honest and entertaining action film that develops as you expect, but which can also surprise. The action scenes play a key role, they are varied and it did not get old to see all the possible ways in which Kate eliminates villains like in a video game. But what would be the point if I didn't care about the main character, which Mary Elizabeth Winstead portrayed fabulously? Add to that the unobtrusive neon atmosphere of night Tokyo and great music. I was, and after those few days, still am more than satisfied.

A running Bohemian Rhapsody and a world-class film that is rarely born in our country, because, like the real Zátopek, this film has a great chance of succeeding in the competition of foreign athletes. Yes, the way Ondříček tells Emil's story is perhaps more playful and, above all, more appealing to the audience than anything unexpected or controversial, but he is able to captivate, entertain and playfully maintain your attention for two hours (hence the introductory comparison to Bohemian Rhapsody). Václav Neužil and Martha Issová are absolutely great, just as the design is beautiful and careful, and Beata Hlavenková's music is, for me, the best domestic soundtrack since Three Brothers by Jaroslav Uhlíř and Michal Novinski. In addition, viewers around the world may receive Zátopek even better than we do, as they will not mind scenes such as the "communists pressure Zátopek because of his wife's origins," which we have already seen because they are in every other film.

A beautifully crazy comedy that takes from the lemonade romantic genre and at the same time contributes to it. Rex Allerton (read the great David Niven) is tired of being an idol on the walls of girls' rooms, who wields a sword and who knows what else in adventure movies, but the crowds of his fans have not stopped enjoying it, so he flees from Hollywood to Europe and... let yourself be surprised. The film takes place in a pleasantly absurd fictional world, in which, for example, Commissioner Clouseau would give the impression of the most capable investigator of all time, and to make matters worse, this absurd reality mixes with even more absurd dream scenes in which Charles Crichton really went nuts - they are so imaginative and funny that many times (like the introductory or the dance scene) they reminded me of Terry Gilliam's style. The Love Lottery simply surprised and pleased me, and I'm glad that Netflix has begun to go into the archives. P.S. And that final cameo!

Are the screenwriters and director really more than 15 years old? I can't really believe that, or that the same David Leitch shot John Wick. Of course, the Fast and Furious series is also getting faster, more frantic and more and more ridiculous, but at least it's fun. Hobbs and Shaw didn't amuse me much except for in a few scenes.

During the final battle, Shang-Chi lost most of the trump cards I had enjoyed so much for the previous hour and a half, and it's a shame. Amazing choreography of fights, which I have not seen since Crouching Tiger, Hidden Dragon, beautiful design including music, brand new characters, but at the same time characters so nicely and naturally fitting into the world of Marvel, interesting and impressive story - family drama, of course humor... All this together makes an absolutely excellent adventure and simply set the bar so high that the mentioned finale had nowhere to take it. But four stars would simply be too few, because it's a very honest film that the creators cared about, and it's so much better than last year's Black Widow.

I don't like clumsy anime animation, so I had to get used to it for a while, but the interesting story and a decent atmosphere helped me with that. Even the over-done action scenes, which have nothing to do with physics, are not for me, and they can splatter blood as much as they want, from whom or from what they want and where they want. However, the sympathetic Vesemir and the fact that the sorcerers are not completely good guys was as pleasant as watching the magic plans, and as one quite surprising "who is who" finding.

It seems to me that this film is aimed at the part of the audience (and not necessarily the younger part) who doesn't know who Bonnie and Clyde were and who didn't see Penn's film of the same name. Anyone else, I think, will not resist the comparison from which Dreamland can emerge with honor at best, but certainly not as a winner or an equal rival. It's kinda... well... shallow. A little naive. And it's a shame, because if it weren't for that protracted start, we could have gotten more of what was going on in the second half and what was more interesting after all. I give a special prize to the screenwriter for a strange idea, who lets the story be told from the point of view of the protagonist's nurse, but at the same time wants us to be afraid of her several times, which is a bit messed up.