novoten

The renowned king of bizarre worlds has finally embarked on the most famous journey yet, and though he couldn't live up to the huge fan expectations, he certainly entertained with a trip from a classic story, with slight modifications. However, surprisingly, everything depends on how much attention Johnny Depp attracts. His Mad Hatter is not just a supporting character, but an equal protagonist who almost outshines the amazingly furious Red Queen or the likeable Alice herself. **Spoilerish PS**: Even I was surprised by how much I was saddened until the confirmation in the second half that Burton didn't go completely against the rules and didn't let Alice stay with the Mad Hatter. That unspoken romantic bond was screaming for it.

When odes to Juno were being sung, I hung silently at the back. But when praises for Up in the Air were sung, I had to be heard from the front rows. George Clooney showcases his most natural side a good couple of years, Jason Reitman's script elevates the concept of "life truth", and that treacherously realistic ending still doesn't let me sleep. The overall impression draws you in so comprehensively that neither side can boo: lovers of people with a pleasant everyday feeling of a warmed home will have their share, as will the chronic travelers who may become unsure whether it really makes sense to start returning somewhere. Calm, intelligently warm certainty.

Few things are more disgusting to me than blatant depression, and Precious did nothing but give me an entire first act of nothing but. Everyone is mean, everything is a mess, everything is disgusting. It was only the determined teacher Blue Rain with her program "Each one teach one" who saved the lifeline from collapsing under all that pessimism. But it was definitely not a bad movie. Everyone acted really well, and after everything, I just have to root for the main heroine. However, it's definitely not an exceptionally special event.

Valentine's Day begins in an excited and joyful spirit, everyone is looking forward to the evening, waking up next to their loves and enjoying the Day of Love. The positive introduction really gets everyone in a great mood, but as various storylines begin to complicate or clarify, the pace starts to drag considerably. The ones who did not lag are the high school students (especially Taylor Swift, who was still pleasantly surprising in her prime) and the senior citizens, who elegantly headed towards an old-fashioned conclusion. However, among the adults in productive age and at the center of the action, things occasionally drag considerably. Whether it's the incomprehensible Jessica Alba, the overacting Jessica Biel, or the confused Jennifer Garner (I know that romantic comedies are also about hyperbole, but all of this cannot happen in just one day, even with that hyperbole). Those who gain points are, of course, the radiant Eric Dane, the charmingly unobtrusive Julia Roberts, or Patrick "McLiar" Dempsey. Perhaps it's a pity that Valentine's Day, after considering all the pros and cons, ultimately became a clear average. If the movie had ended in disaster, I could consider it a mistake. This way, considering the high expectations, it is just a huge disappointment.

With knowledge of any amount of Joel and Ethan Coen' works, it will be clear after the first few minutes that the creative duo is once again trying something similar on us. The unfortunate protagonist (this time, once again, quite literally a life's failure) has bad luck at home, at work, and everywhere else, and the viewer can only wait to see where this pile of unfortunate events and mishaps will lead him. The narrative skill is certainly not lacking, but intentional vagueness and absurdity are only pleasantly original. Unfortunately, it is no longer particularly memorable.

Season 1 – 90% – In this town, Ryan is nothing more than a strange coincidence. A juvenile delinquent, born in the wrong place, in the wrong street, and especially in the wrong family – and suddenly he finds himself among a gallery of snobs? But what can you do. The very people he used to judge seem to care about him the most. And maybe it would be worth staying in this moment. He could have less bad luck. After all, every time someone knows something about someone or hides something, it always coincidentally reaches him. But seriously – the O.C. is a favorite. Whether you prefer the determined rebel Ryan, the outsider Seth, or the witty dad Sandy, the glimpse into relationships feels good here. Who knows, maybe it's personal. But the environment where the family stands behind the main characters, no matter what foolish thing they do or any trouble they encounter, is simply my favorite cliché. Season 2 – 90% – The overall impression doesn't change, the summer mood remains the same, the characters too, so we continue where we left off. Ryan is still a tough guy, Seth is a lovable geek, and I can only like Marissa when she revolves around Ryan. The only major stumbling block occurs in the second season when the problems of adults (even in the superficial world of Orange County) become somewhat exaggerated. The tape, Carter Buckley, or the magazine about life in Newport with Julie's face on the cover at that time were losing out against teenage relationship peripeteia. But the Cohens/Coopers/Nichols can still touch me emotionally and draw me in immediately, despite all the necessary exaggeration. Season 3 – 80% – The plot is greatly influenced by the supporting characters, and the quality also depends on their popularity. While I enjoy watching Volchok, I regularly suffer with Johnny Harper. And the beautiful Taylor has a lot of (confirmed) potential. However, this time the experience of the series as a whole is sometimes a bit scattered, and the storylines of the older generation don't impress much either. And what disappoints the most is Marissa, who goes further in her unlikability than ever before, which stands out even more because the trio of Ryan-Seth-Summer is a perfectly blended cocktail of perfect characters. However, the final episode indicates for several reasons that the classic O.C. is over, and the new beginning promises great things. The final chapter couldn't have asked for a better launching pad. Season 4 – 100% – It wasn't the best teen series, it stumbled a few times, even more so in the third season, but the characters, the lines, the occasional mockery of the relationship concept? I can't help it. Maybe the more mistakes I see at different moments of development, the more vividly I perceive all the positives of the last year and beyond. Autumn Reeser as the amazing Taylor shined so bright in the fourth season that there was no defense. The screenwriters are tying up all the forgotten question marks from the past, and they know very well that they can't hold on to the main characters for too long since high school and the inevitable goodbyes. And giving them a perfect and emotional farewell in the finale was ultimately even harder than I expected. Goodbye, Newport.

Season 1 – 70% – Some things in these genre categories are familiar. We have a likable boss, a main duo of investigators inadvertently reminiscent of The X-Files, a list of special abilities reminiscent of Heroes, and the key storyline of high school student Sean evokes the atmosphere of Roswell with its teenage relationship spirit. Therefore, it's primarily about cleverly combining these aspects and playing with the mythology plotline, because the characters must first grow on us. And although this combination still needs to pick up the pace, I definitely like the direction it's heading. The individual episodic cases are pleasantly intertwined into a cohesive story, sympathies toward Tom or Lily slowly grow, and the significance of everything hinted at in the gripping conclusion is exactly the path this unassuming sci-fi can take to higher goals. Season 2 – 50% – One of the most surprising disappointments I've seen in a television series. Just when the story became more dramatic and the characters gained meaning, a glitch occurs where the pacing is practically dragging in all episodes (with the honorable exception of Tom in the alternate world). The main plot progresses unbearably slowly, and the characters either become uninteresting extras or figures serving a momentary purpose. The disappointment is even greater because Jordan strongly propelled the series forward, and the changes at the beginning of the season seemed to promise improvement. So, I won't definitively give up on The 4400, but it's hard to temper my disappointment. Were it not for the interesting development of Sean and Kyle, I would probably have given up, but this way, there is still a chance for improvement. However, after being annoyed by the recent episodes, I need a longer break.

Jim Sheridan approached this cleverly. He doesn't turn the cold atmosphere of the original film into emotional blackmail, but still doesn't want to immerse the viewer in the same filth as the characters. He maintains a reasonable distance with a creatively crafted soundtrack and warm camera work, and surprisingly wins the battle against comparison to the original. The original Brothers and its all-encompassing depression lost strength at certain moments, but here the irretrievable loss of idyll due to its more honest depiction is even more fatal.

Season 1 – 85% – Drama interwoven with irony in every stitch, a relationship story that is like a poem and full of undefined villains. Gossip Girl may seem like a routine that has been seen a hundred times, but on second glance, it is a series that is not afraid to reveal some teenage taboos in a unique way and style. I can understand that some are not impressed by the deliberately exaggerated plot, but arguing that it is just "more stupidity about young and rich people for young and rich people" proves that you haven't seen a single episode. I prefer it when the gossip dominated the whole first season, showing me great characters (Dan and increasingly Chuck on the teenage side, and the beautiful and elegant Lily on the adult side) and, in the final episode, it wasn't afraid to completely defy clichés. The only task was to preserve that unmistakable style and atmosphere. Season 2 – 70% – It keeps its face, but the story sometimes stumbles embarrassingly. The quality fluctuation this year reached new heights (most storylines were almost flawless in the middle of the season), but also unexpected lows (the aimless search for a new central storyline at the beginning or the inability to introduce a single consistent side character). However, popularity is now becoming an issue (except for the consistently entertaining adult part). The romantic artist Dan and the conflicted playboy Chuck are still in the lead, but all that remains of the girls is the spoiled yet charming Blair. The selfish Serena with her perpetual sense of being aggrieved and especially Jenny with her tricks, who I can't stand even to look at anymore, have fallen to the lowest depths. When I'm feeling indifferent to more than half of the characters or would rather not see them at all, something is wrong. Not to mention that relationship dramas are served regularly, but somehow the writers don't seem to care as much about who is experiencing what and, above all, with whom. This seventy percent rating is wavering dangerously on its foundations and only hangs on thanks to the aforementioned characters, a well-fitting voiceover, and an excellent soundtrack. However, the continuation must settle into a more credible and romantic spirit, otherwise, things will turn out badly. Season 3 – 90% – A rescue injection. Everything is several classes easier with more natural relationships, and the cluttered finish of the second season helped the creators realize this. The most annoying thing for me this time around is the unbelievable absurdity where the main characters, six months after graduating from high school and dealing only with Gossip Girl and occasional family crises, have taken on the lead roles in all of New York City. One buys the most expensive hotel, one dates the biggest celebrity, one makes a news segment during prime time, and one decides on an entire key political campaign. And all of this is done by nineteen-year-olds who have barely started college. However, since Gossip Girl never pretended to be a realistic series, I can shake my head at this fact, smile, and move on. Because the writers manipulate the viewer very strongly in the relationship storylines, I happily bought into them this season, along with all the twists and turns. Friendships turning into love, love turning into a crisis, and all possible soap opera clichés, presented in a perfect form, with grace and top-notch irony. The gossip has finally found its place, knows how to touch the viewers, how to move them, and how to high-five them. Season 4 – 70% – Some drops in quality you just can't get used to. And when the autumn part of the season becomes the worst period of the series, it's a low blow. What the writers show in twists like "a child of a Russian boss" can only be classified under a big WTF sign. The most annoying thing is that the whole central plot revolves around selfish Serena again. The rescuers remain the same: the hedonistic and conflicted Chuck with the queen Blair, and also Dan, who suffers from not having someone to play with for a very long time as a positive character. And when an irritating character is created out of Vanessa as well, it seems that the quality bottom is very close. However, one relationship/non-relationship with an absurd and yet cute duo came along, which resulted in a fateful love triangle and finally brought back what I've always liked about Gossip Girl. Pleasant exaggeration with believable emotions inside. Even though it saves more than half of the percentage in the ratings, along with the aforementioned favorites, it is still not enough because it cannot be sustained indefinitely. And if the fifth season continues with trivial and desperately predictable storylines around Nate or Lily, it might be the end. Season 5 – 55% – The feeling that I've seen everything on the Upper East Side and yet I'm still watching commands a higher rating, but this time I have to be strict. I still adore Blair Waldorf and Chuck Bass, and happily identify with Dan, but the rest is just too much for me. Serena's suffering looks, intrigues surrounding the Van der Woodsens and the Rhodes (You are Charlie/I am Charlie), and the crazy storyline with Chuck's family, where no one really knows who is whose mother or father – it was simply too much. But what surprises me the most is that even with such illogical plots, I have no problem watching the whole extended series and enjoying some aspects of it. Unfortunately, with the current lack of effort in the relationships and the unrealistic nature of EVERYTHING, there's only so much I can turn a blind eye to. Season 6 – 50% – The final twists are on the verge of bearable superficiality, unnecessary storylines for most characters (Rufus, Charlie, Nate, and Serena), and the feeling that no series should limp so awkwardly towards the end. Even after all this, I still get lured in by the unbelievable chemistry between Ed Westwick and Leighton Meester, and the bond between Chuck and Blair is the last thing that has survived from the original qualities of Gossip Girl. Even though the last season is painful and dispensable in many ways, I have to admit one thing. The last two episodes function as a slightly drawn-out essence of everything I have ever loved about the series. So as I was watching the cunning plans, the unexpected (and sometimes unfortunately incomprehensible) meetings or alliances, the nostalgia finally got to me. In the spirit of the whole gossip concept, who ends up with whom, who fares how well in the future, and who ended up being the real Gossip Girl is a little ridiculous, a little unbelievable, and at times quite a bummer, but this is all about everyone's personal sympathies. But the bitter feeling that the second half of the series was a parody of the first half remains very deep in me, even after all these years. XOXO.

Mendes can prescribe medication to all relationship optimists, but this time I received a really bitter one from him. Haythe's script cuts into everything that a person can fear in marriage without hesitation and evokes a slight despair, far surpassing the usual "relationship enlightening" attempts with its expressive value. However, the one who poured this understanding into my head is mainly Leonardo DiCaprio, who doesn't even seem to act out his despair and every more intense moment is a fascinating concert in his portrayal. The only thing I criticize is the character of mentally ill John, who always aptly names everything in an outrageously hurtful way. Such a person would easily be thrown out of the door after just two sentences, even with his considerate parents. Due to the character being too purposeful, I won't reach the highest rating in the end, but the story of Revolutionary Road will stay with me forever. After such an anti-gravitational yet absolute ending, it cannot be otherwise.