D.Moore

Great. It seems to me, according to the feedback from the world and the database here, that the Coens have been making films mostly for themselves and me in recent years. But why would I mind that? Every short story was something different, and each was great. There was typical humor in unpredictable situations as well as melancholy thinking about people and about life, and I certainly don't agree that the short stories didn't have points, because they did. Just maybe they weren't as evident and literal as people would have liked. Yes, I thought that the gold-digger story with Tom Waits would be the last and that it would be a beautiful ending, but then, after it ended, the next one started and then came the last one (typical Coen anecdote), and I certainly didn't mind.

If I had to guess whether George Lucas debuted with THX 1138 or American Graffiti, I'd probably pick this film because it feels more independent to me, less ambitious, and there's not as many memorable directorial ideas in it (for example, the car crash is completely sloppy). But it's not about how the film looks, but rather what it's about, and as a testimony of youth on the doorstep of the Sixties, it's really great. Almost Forman-like. The atmosphere of a hot summer night, during which there are various partings and meetings, is really good. I don't want to pick the one I liked the most from all these stories, but if I had to, it would be the one with Richard Dreyfuss looking for an enchanting beauty.

The story may be all cliche, but if it captivates me so much, should I mind? Why would I? A Star Is Born is a great film with great performances (excellent actor Bradley Cooper sings excellently and excellent singer Lady Gaga acts excellently), shot with a familiar sure hand (perhaps producer Clint Eastwood gave a bit of advice?) and with a great soundtrack composed from original songs, each of which could be a hit. I'm just happy enough to give it five stars.

There is so much material about Queen that even a two-hour documentary can easily feel only as an excursion of flying through the world. However, when it is a good and especially balanced documentary that focuses on facts, it then offers much of the behind-the-scenes about the creation of songs and does not just stay with talking heads Brian May and Roger Taylor - thanks to the archive Freddie Mercury and John Deacon also talk - then it’s almost impossible to be dissatisfied.

A straightforward, gritty and very cynical film. The filmmakers obviously love the Coens' Fargo, and so do I, so there was no reason not to get in the snowplow with them.

At first a very good and a pleasantly different atmosphere compared to everything called horror today - unexpected things were happening, and I didn't dare guess what would come next. But over time... The representative of the son was becoming more unbearable and his bouts of crying seemed like a parody, the whole big secret didn't make a lot of sense to me and didn't particularly shock me, and the bloody and the stretched ending downright bothered me. This is not the second Witch, and certainly not the second Exorcist.

I didn't expect that. After the previous film, which I really liked, came the second installment from the very same creators... And it's so much worse. Boredom, familiar characters who suddenly didn't matter to me, and new characters who were quite similar, their shallow dialogues, action scenes without many ideas and the attractions named Johnny Depp and Jude Law are barely used. While the previous film revealed new chapters of the Harry Potter world and enlarged it pleasantly, this one just strangely tangles it. Two and a half.

A great classic that fully deserves the label. A strong story, excellent actors and the constant threat of war hanging in the air, which finally strikes and shakes everything up. The film would have greatly benefited from a more lavish widescreen format.

The previous film was at least professionally shot, but its London sequel is missing decent action scenes and special effects that would look better than average video games. I won't mention the characters and actors purely out of decency, and it's terribly evident that London's streets are just backdrops that originated in the studio somewhere. It is, in short, immensely boring. And stupid.

Since the days of Rest in Peace, I haven't seen a new series that could entice me this much. In particular, the transformation of the main character (I'm not going to say protagonist) is something surreal, and the way in which the screenwriters cruelly mess with viewer’s sympathies and how they don't really give a damn, is admirable. Of all the episodes, not a single one seemed useless to me, there were no blank spots in any of them, although there was talk all the time, I enjoyed the precisely written dialogues as much as when the characters were just looking at each other and the tension thickened. It was an excellent fifty hours.