novoten

There were dragons when I was a boy. The best animated series is bidding farewell, and this long-awaited finale of the story of inseparable friends has exceeded all possible expectations. Maybe it's because I have seen the previous installments multiple times, maybe it's because I became attached to the main characters over eight seasons of the series, or maybe it's because such a crowd-pleasing and dragon-loving message is hard to beat. I had chills down my spine from the first scene and a racing heartbeat during the last half hour, accompanied by more than one anticipated tear and a feeling that the film world has been enriched with a true legend.

The unbearable frenzy of costumes and literally infantile exaggeration contrasts with unexpected and unconvincing attempts at sincere confessions seriously infuriating. Moreover, the ending ruined all chances of at least a tolerable climax.

Here I would blame the writer and director. With a very well put together cast, it would definitely be possible to raise Impostor higher than just being average and uncertain. Unfortunately, the twist of the story is so obvious that a potential second viewing is almost out of the question and it becomes pointless, even though the fundamental idea was more than solid.

There was a huge pile of emotions after leaving the cinema, but they can all be summed up in one message: "You took your time, but it was worth it, Indy." The teacher looks like he hasn't done anything but searching for more and more treasures in the last nineteen years, and even though it has added a wrinkle or two to his face, he still throws himself into everything headfirst. Fortunately, with an increasing dose of reason, because the main hero has indeed grown wiser in his old age (not to be confused with becoming soft). And this nostalgic, mischievously winking adventure contains so many amazing ingredients. The ethereal Cate Blanchett, a chase over a cliff, "ants like pigs", breathtaking climax, and last but not least, the rebellious Shia LaBeouf, perhaps even better than I dared to hope. The Last Crusade's base as the pinnacle of the series passed without any problems, but such an adventurous ride can probably only be found with Mr. Jones.

The last farewell to a man for whom no desert was too hot, no jungle too deep, and no tomb impenetrable. A critical and financial failure means that the memories of old times are now carried in a completely different form than before, and endless nostalgia cannot work. But on me, it does, because every reference to previous installments resonated in the right place within me, and the truly serious moments that allow Harrison Ford to give performances minimalist yet almost burdensome in their perfection, encapsulated story arcs and audience arcs that have lasted for decades. I'm not saying it's a flawless installment given that after the brilliant introduction the story drags and doesn't let up on the brakes until the final act. However, there we are given so many surprises combined with classic Hollywood spectacle that I don't even want to look back on any complaints I had with the minutes that came before. The feeling of saying goodbye to the most primal form of Indiana Jones is so bitter because suddenly I feel that five adventures are not enough, and the knowledge that it is an intentional ending doesn't help me much. The gates remain closed, and there are not many high-quality adventure films left in such an honest form.

Clearly the weakest of the Indiana Jones movies. The horror atmosphere occasionally grabs you, but for Mr. Archaeologist, it's desperately lacking. It needs more boat flying or wheelchair riding. This way, everything starts off very promisingly and it only pauses for about an hour before the classic final spectacle.

An incredible movie that definitively moved the series into the waters of immortality. The biggest credit for that goes to the light-hearted script and the perfect chemistry between Ford and the dry-witted Connery. Every scene between this duo comes together flawlessly, leading up to the final departure into the setting sun.

Ron Howard diligently pushes grand shots even where the viewer wouldn't expect them, and strives to make us forget about how formulaic the whole series feels. The supporting characters unnecessarily dilute the attention, and Felicity Jones' lukewarm performance doesn't help either. But what's even sadder is that even after a long break from Angels and Demons, it's clear that the screenplay is just trying to pick out the better ingredients from that and from The Da Vinci Code without adding anything new. Despite Tom Hanks' still surprisingly vibrant performance, my score remains below average, and I remain confused by this mishmash until this day.

When I saw Arkin with Freddie Mercury's face, trying to add depth to the main character in a trivial way by uttering lines like "I'll ruin everything, I'm worthless," it made me sick. Jacques Clouseau was unique and with him, there were four perfect films and one average one - and it is a sad paradox how many failed clones are associated with the brand.

It is a great pity that such a promising thriller concept, which could have been used in almost any genre (especially sci-fi, which would suit it the most), has been diluted into a surprisingly uninteresting drama, where the viewer can only dream about interesting characters. I was particularly bothered by the screenwriter's impersonal approach to the characters throughout the first half, as a result of which the catharsis did not feel like a culmination, but rather as a liberation from boredom. From experience, we know that a good mystery thriller can be created in Spanish conditions, but this case certainly is not one of them.