D.Moore

A very good comedy. I liked it more than Muži v offsidu, mainly thanks to Hugo Haas, who was also the best in the aforementioned film, although he didn't get much space. But here he excels, he is wonderfully choleric and the way he tries to tame his outbursts of anger or, to cover up his mistakes, is irresistibly funny. He is simply like Louis de Funès at his best. "Come only after the inventory." - "What is that?" - "What is that... Jewish holidays!"

More of a play on a musical, too artificial for my taste and fails to capture the heart. Good music, yes, skillfully orchestrated dance numbers, properly kitsch set and the magical Emma Stone... But if it weren't for the (thankfully impressive) finale, I wouldn't have gotten rid of the feeling for the whole two hours that someone is just showing off, fulfilling a dream to make something that will look like what is no longer being made, and somehow forgetting about the viewer.

I don't really understand the wave of criticism. I saw from the beginning to the end an extremely interesting and engaging TV film full of great performances (I suspected that Vladimír Javorský would be excellent, but I was also pleased with David Novotný, who is not very similar to Jaroslav Marvan in appearance, but he acts exactly like him) and believable emotions (Štěpánek's speech, Burian unable to do humor...), with careful design and a pleasant period atmosphere. The mixing of fiction and truth didn't bother me at all, because hand on heart - if the filmmakers claimed that they were making 100% truth, there would still be viewers who wouldn't believe them and would blame them, so what the heck. On the contrary, making fictional films inspired by existing ones is a good idea and quite a funny revival. The "storytelling" story from 1968 will certainly be used by the script somehow, so it definitely didn’t feel Superfluous to me.___P.S. I don't even need to add the fact that any minute of the first part of Bohéma is better than the whole of Renč's The Devil's Mistress.

I think the first film was better. What bothered me about this episode was that Silver Lake was the least interesting of all, and what's worse, the finale in the cave was so weak and the shootout so lame. Otherwise, though, a lot of things were fine, from the actors to the cute humor, and I'm looking forward to the next story.

A soothing film that I can recommend to almost everyone who is struggling with a worse to bad mood - it really manages to drive it away (tested on people). Not only does the comedy benefit from Allen's favorite relationship entanglements and winding paths of love/destiny, but a good dose of humor is injected by an antic chorus (a wonderful idea) and the charming Mira Sorvino.

The poetic story of Paterson's Petrarch, or Sometimes the blank page holds the most possibilities. I was really looking forward to Jim Jarmusch's new film and I didn't know much more about it than that the main character drives a bus. I would recommend the same to everyone... But actually, why? It's clear to me that whenever I see Paterson again, I'll enjoy it just as much, even though I'll know what's in store for me. There's a lot of power in all that simplicity. And Jim Jarmusch once again won with it so much that it is simply impossible not to suspect that he chose Adam Driver for the role of the chauffeur mainly on the basis of his surname. "Aha!"

It wasn't easy at all, but it worked. Very sympathetic actors, pleasantly adventurous atmosphere, no violent screenwriting digressions in an attempt to distinguish themselves as much as possible from the original films, almost no modern filmmaking uselessness (except for the occasional shaky camera). I'm not one of those viewers who would speak of the May films only with awe and admiration (in my opinion, they were largely improved by our dubbing), which is probably why I don't have such a problem with this one.

I know the competition is fierce, but I still think Bullets Over Broadway is one of Woody Allen's best comedies. The unmistakable (not only) black humor in combination with the period gangster atmosphere and great acting performances is simply something for me. Jennifer Tilly and Jim Broadbent are especially great here.

Flawless performances, especially the two leads, no doubt about it. But what would such quality performers be if they were not lucky enough to have an interesting subject and a director who could make the filming interesting as well? Except for the European "joke" with the frog underpass and the "joke" with the patient's conversion, it was very good - delicately sensitive and with a beautiful ending.

A first-class concert. I have to say that Lady Gaga, who never really impressed me with her usual repertoire and provocative performance, showed herself here as a top-notch singer and a charming showgirl. She certainly does not feed on Tony Bennett's fame - on the contrary, she is his equal partner. It could easily have been longer.