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The screenplay resigned itself to just hints of a complex story, favorite characters are given more space at any cost, and humorous elements play with both the primary and secondary layers. And thanks to that, this works a whole level better than the first installment. Although the sequel to Madagascar is perhaps in all respects a pure calculation, the penguins and lemurs make people laugh, the zebra crowd cracks you up like mad, and the favorite hypochondriac side of the desperate Melman does not fall behind. If the unbearable and embarrassingly unfunny action grandma hadn't shown up, Madagascar: Escape 2 Africa could aspire to enter the group of truly successful animated films. Without the empty references like "the circle of life", which was annoying in the first installment, it really wasn't far from that.

Season 1 – 100% – The biggest and funniest romantic mess you can imagine. Almost everyone is a member of a longing love polygon, constantly paying for their weaknesses and frequently wiping out their classmates with the perfect verbal response. Moreover, I probably won't find such a salvo of perfect script absurdities like "half of the episode narrated from the perspective of a giraffe" anywhere else. Maybe in the next season. My favorites are the love-stricken belligerent delinquent Harima Kenji, the sarcasm-filled Akira, and the very cute and gentle Yakumo. Season 2 – 90% – We're back, and in top form! Harima, Tenma, Yakumo, Sawachika, and even maybe Miko. They are all ready for another batch of crazy adventures that will blow your mind. Episodes with almost no connection to our characters are just as common as an alternative world in Mexico or a giraffe under the bed. At times, it can be a bit overwhelming and my smile starts to fade in all the chaos, but the feeling for the story and the characters always comes back at the right moment. The best proof of that is the touching finale. The message about sibling love is a beautiful note to end on.

Given how bizarre and predictable the plot looks and how annoyed the first audience reactions were, my relative satisfaction in the end is surprisingly high. The actors are great, the main trio of actresses is literally divine, and every joke works better in all those beautiful locations than in clichéd city sets. And even though an occasional line or scene is a bit off, at the end I couldn't wipe the smile off my face.

This is not a love story.. Maybe not, but romantics will still adore this tale. Marc Webb simply had to recreate so many natural feelings and moods from life, so accurately, that I definitely won't be the only one who sees themselves in Tom. With each passing year, the turmoil becomes more relevant.

The Victorian magic works like never before. The master of deduction comes in full force and his creators have flown into the performance in the most pleasant way possible. Action-packed, grandiose, and clever. Holmes can certainly throw punches, but more importantly, he can perfectly engage the mind. Despite a complicated plot, everything falls into place, the viewer can barely keep up with the lightning-fast explanations, and Sherlock (along with Guy Ritchie) can leave triumphantly, having surpassed his own reputation. This is simply the right kind of Adventure with a capital A. And I will want to be the first in line for the next installment.

A genre mishmash, emotional turmoil, perfect actors, and most importantly, an unexpected spectacle. Peter Jackson has created an entirely intimate story where even the most magnificent special effects shot remains a personal desire. Plot-wise, it may suffice with the simplest premise, but the tension, tears, and magnificent camera did not even let me properly think about it. A complex and evolving experience.

A shot-by-shot remake of The Watermill Princess, ridiculous overdubbing of a number of characters, and a plot stealing from every other fairy tale. While all it would have needed with a cast this solid was just a slight bit of invention from Ivan Troška to make this into a tolerable film.

The divine Sarah Michelle Gellar and the minimalist absolute director David Thewlis have led me to a fascinating contradiction. They tell the story in a breathtaking way, then stop, delay, and twist all expectations, yet still end with such a perfect catharsis that I find it hard to withhold the highest rating. I can't remember the last time I wished so much for a film to never end and ultimately acknowledged, amazed, how the conclusion gave order to everything and added a touch of genius. Currently at 85%.

Another opportunity for an entertaining/adventurous film wasted. The simplistic childishness and honesty with which Roland Emmerich tells his stories has fascinated me at times. Yet as a result, the film is just a tired fable in which cavemen speak English with a Middle Eastern accent, mammoths build pyramids, and the last remnants of adventure are saved by a five-minute scene with a saber-toothed tiger.

A deadly thrilling neo-western with a macho, honest tradition. What the mournful narrator tells is not just a tale of a worthy and evil pursuer, but also a multi-layered testament that old times cannot be brought back. Originality in every step, a maddeningly oppressive silence, and a feeling that this story could have been even a good bit longer.