D.Moore

No one could have wished for a better farewell - Bond, Craig, us... No one. I will miss Daniel Craig as 007, but I am very happy that he has made five great films (I had no doubt that another one would come after Spectre, no matter what anyone said), which played so beautifully with the notorious Bond attributes (this time we finally get a proper villain super base) and with us, and it was just a pleasure to watch. No Time to Die is more than just the last part of a series - it's a film for the fans, which doesn't make sense without Craig's previous films, and which you'll enjoy even more if you know older films, especially On Her Majesty's Secret Service. The screenplay took advantage of everything the last four films had to offer, and added something new. Fukunaga's direction is fierce and playful in the action scenes, in the other scenes he relies mainly on the actors (I would like to highlight the adorable Ana de Armas, with whom I would wanted to see a solo film), the fateful atmosphere is illustrated and the pace is set by the roaring Hans Zimmer, who put the effort in, and John Barry's legacy is certainly not a disgrace. Thanks for saving the world and for the fight scenes, Bond. James Bond.

Definitely Craig's best Bond film. After Casino Royale and its feature-length epilogue, Quantum of Solace, we have Skyfall, a film with a license to thrill and entertain from start to finish. Sam Mendes provided spectacular action, which he only teased at times in Road to Perdition, Roger Deakins does unprecedented magic with the camera (the duel of silhouettes in Shanghai, the arrival in Macau, the fiery ending), the characters were given excellent dialogues (not to mention the dry jokes), Bond was given a great antagonist (the fact that their first meeting was one of the film's funniest moments only confirms what an atypical Bond film Skyfall is), and great teammates. There wasn't "a lot of talking" at all - on the contrary, there could have been even more plot and minutes in my opinion. All the allusions to past Bond films were more than endearing - but the best moments still came during Bond and M's ride together in "Connery's" Aston Martin. And those beautiful subtitles! "It's not very comfortable." - "Are you going to complain all the way?"

Different than Skyfall, perhaps slightly weaker, but still very, very good. Spectre reminded me most of Connery's From Russia with Love, which also doesn't have many action scenes, but has an interesting plot that is a joy to watch. Once again, everything flows beautifully, the film is lovely to watch and although there is a lot of talking, it is never wasted and the characters always have something to say. When it comes to action, it's typical Bond (plus the train fight is a reference to From Russia again), when it comes to women, it's typical Bond... The quiet, eerily calm atmosphere is atypical - but atypical certainly doesn't mean bad. I have to especially praise all the scenes with Blofeld, during which I almost didn’t even breathe, and I couldn't help but be pleased with the reasonable use of references to older Bond films (Connery's white tuxedo from Goldfinger, Bond's disguise as the villain from Live and Let Die, the Aston Martin DB5, the Thunderball-like funeral...). The only thing I could criticize is Thomas Newman's woefully unimaginative music (which is mostly apparent when listening to the soundtrack on its own); otherwise, I'm surprised at all the low ratings and bad reviews.___P.S. It's set up nicely for a sequel, which could easily be some sort of sly remake of On Her Majesty's Secret Service.

I missed a final point, and the film didn't even have a proper plot - we know what happened to the characters, but unfortunately we don't learn what happened to the survivors. However, the writer's (and director's) ideas are very pleasantly blackly entertaining and watchable. Three and a half.

Three and a half stars. James Franco, Sarah Gadon, the retro atmosphere and the first and last episode are great, but in the meantime I was quite bored here and there. The biggest flaw of King's novel, that is, the sprawl during Jake's teaching, was removed, but it was replaced by another flaw - the completely unnecessary character of Bill and the large amount of space the script devoted to him. Otherwise, I didn't mind the changes from the book.

Ninety-four minutes of film... And I wasn't bored with a single one. I read the book in one sitting, so I was "just" waiting to see how Danny Boyle would handle it. I have to say, he did a great job. It's not clear to me why the plot deviated so much from the book and Ralston's real story in the beginning of the film (the swimming with a couple of girls is a purely cinematic, completely unnecessary addition and also the only minus), but everything that came after that was sensational, believable thanks to Franco and constantly imaginative thanks to Boyle (you wouldn't believe how many possibilities there are to place the camera in such a narrow canyon). The film looks amazing, features an impeccable soundtrack and won't get out of my head any time soon.

It is a very long film, barely up to the level of, for example, Spielberg's Amistad or The Color Purple. It is almost no exaggeration to say that in 12 Years a Slave, the same thing happens over and over again, i.e., blacks are humiliated, whipped, they are scared, etc., just in different variations, and after an hour or so it gets boring. The plot is strangely disjointed and a lot of characters or situations are unnecessary or unfinished (Epps' wife, the other slaves, like the suddenly appearing white guy). If I didn't know the name of the film, I would have absolutely no way of knowing from anything that the whole rough episode lasted twelve years, almost all the white guys are cruel (who plays the nicest guy?)... And so on. It was well acted, Benedict Cumberbatch in particular shone in a smaller but impressive role, and I also gave Michael Fassbender's slave driver all the credit he deserved. I was particularly impressed by the direction in the long whipping shot, while Zimmer's unimaginative music did not impress at all. Three and a bit.__P.S. More and more I'm thinking how much better the film could have been if the first half had been devoted to Solomon's slavery and the second half had shown some of the court scenes/losses (which only the end credits tell us about).

All I wanted was an ordinary unpretentious action movie that could entertain me (or at least not bore me), and I didn't even get that. Man, this was stupid! The director of the great Die Hard 2 made a stupid clone of Die Hard 3. Crap! And that “actor” in the main role…

It's a shame that some of the sympathetic believable bearded men end up being so interchangeable in the chaos, though the film's opening takes quite a bit of care to introduce them as best it can. It's the only thing that bothered me about 13 Hours. But on the other hand, it is quite possible that when I see the film on DVD, I will be able to tell one from the other more easily and it will only improve the film. Michael Bay surprised me - the film is not that pathetic (by his standards!), the action is not overdone and the wait for it is really exciting. The script can afford to let the characters say lines like "It's like Black Hawk Down!" without sounding ridiculous, and the director can use a trick mortar shell flight to refer to the dropping of the Japanese bomb in Pearl Harbor... I hardly noticed the runtime, there was always something going on and everything was in moderation. In short, more than a good film.

A decent noir movie - especially in the second half, it's one surprise after another (I like these stories in which everything seems to be solved, but it's in fact far from it). Thanks to the mostly believable acting performances and skillful direction by Frič, you will remember a lot from Guard 13, and Julius Kalaš did an above-standard job, because the music is downright great.