Új recenziók - Minden felhasználó

A pleasant family film that won't offend anyone. A fun adventure into the kingdom of children's innocent imagination, capable of captivating audiences of all ages. The film reminds us that the beauty and magic of children's fantasy lies in its boundless creativity, where our own reality can seem infinitely attainable.

Fallout is teetering between 3 and 4 stars. One might assume that for die-hard fans of the game it would be more like 4 and the opposite for the uninitiated. From the perspective of someone who has never seen or played the famous game, form clearly trumps content. I'll leave aside the fantastic visuals and special effects, which are a given in a project of high ambitions. What I liked more were the huge amount of wisecracks, cynical humour, the gadgets and gizmos, the imaginative creatures and the great scenery. The story is framed by a rather intense socio-political subtext that is topical at the moment. And the subtle allusions to current world events are all very good. Of the actors, Walton Goggins is good, and Ella Purnell has a pleasantly naive character, but Aaron Moten, who looks like Denzel Washington in 1998, is not much fun, and neither is his character. Still 4 stars for the original retro-futuristic visuals, but barely.

Once I saw the name in the director's chair, I knew satisfaction wouldn't come. Unlike the film critics, Jasmila Žbanić failed to convince me of her qualities despite her previous works. Even Aida doesn't excel in captivating its audience; similar to Žbanič's previous works, I felt there was a lackluster handling of the filmic image and an inability to evoke emotions in the viewer at points that clearly deserved it. While artistically only average, there's still the explosive topic of the largest massacre with a hint of genocide since World War II in Europe... So, I'll slightly squint to justify the fourth star and give it a 70% overall impression.

Due to the imaginative nature of the whole concept (Japanese folk horror meets Dexter meets Black Mirror), it repeatedly cycles through (necessary) passages where one character explains at length to the other (read the viewer) "who, what, why, how". It doesn't have a breakneck pace, and it feels a touch longer than the billed two hours. The infodumping could have (and should have; even considering the author's abilities) been delivered in more cinematic language rather than through static conversations, with the special finale feeling like a live-action episode of Scooby-Doo. It doesn't matter that much, though, because the ambivalence of the characters, along with the concept, pull it off. A hard to describe study of (a)morality, where the responsibility for oneself, who is or isn't a monster under the surface, where the responsibility of a psychopathic personality for whom actions (don't) speak begins or ends, but delivered in a genre-bending trashy style of Takashi Miike. There is a rampaging monster, but there are no horror scenes. It's seen from the point of view of the police, who make their way to the crime scenes, and primarily through the eyes of one of the potential victims, who doesn't feel like a victim, on the contrary, she herself is often on the hunt. It's original, imaginative, thought-provoking and just plain good. However, there was room and talent involved to elevate this to another of genre chameleon of Miike's timeless cult films. It's intriguing, it's out of the ordinary, but for many it will be more of the "much more fun to discuss in the pub over a pint than to watch for two hours" variety.

After the twenty year old live-action version, this is my second encounter with the gluttonous lasagna lover and chief opponent of Mondays. The makers of the new Garfield have moved with the times, throwing in many modern conveniences to appeal to today's younger audience, while the ubiquitous sarcasm is intended for older viewers – it's just a shame it is lighter in tone. In terms of story, the film doesn't surprise in any way, but it doesn't bore, and the plot moves along quickly throughout. As an unpretentious flick for a free afternoon, The Garfield Movie is a perfect choice!

The film benefits from the popularity of the series and the charisma of the main character, but in terms of the screenplay, it's somewhere around the level of the 5th season, which is not praise but simply an observation that the fatigue of the screenwriting team set in earlier. We can observe sentimental elements to a greater extent in the form of flashbacks from Ciro's childhood and his "paternal" relationship with the Italian community of his friends, as well as longing for Ciro's lost family. The logic of the characters' thinking and behavior is also not a priority for the screenwriters, which is most evident in the scenes of the final settling of scores. Ciro has a remarkable ability as a mafia man to utter heartfelt wisdom in inappropriate situations and to throw noble thoughts into the mix, but it comes off as inauthentic and disruptive. Additionally, viewers unfamiliar with the Gomorrah series won't be fully oriented in the characters and their relationships. Considering the nostalgia for the series, I award it 3 stars and a 65% overall impression.

An intriguing Korean show. After six episodes, my average rating hit four stars, but honestly, a strong three might've sufficed. If Jun Seo-ha is the main character (and I'm still not entirely sure about that), she didn’t really win me over—she didn’t exactly stand out in the sharp thinking department. Surprisingly, the distributor left out the comedy tag. I found myself laughing out loud at some scenes, mostly involving the cops. The Asian approach is just different from ours. While I think the creators could have tackled the subject a bit differently, I still got what I expected. / Lesson learned: Inheritance often comes with problems. 4*-

Turns out my worries about the lack of tension were totally misplaced. The Korean creators saved most of the action for the finale and packed in plenty of suspense. The family dynamics didn’t really move me, though. Even in Europe, you sometimes see a mother who is also a sister to her child (not always by choice, as evidenced by some of those secret cellar stories from Austria). At least here, it was out of love. The conclusion was solid, I enjoyed it, and it’s a shame the Koreans didn’t keep this level of quality throughout the series. / Lesson learned: The heart wants what it wants. 4*+

“Titanfall”, but without the balls. Literally. Weak visual effects, a leaky script and an unlikeable protagonist. It's not just that Jennifer Lopez's acting is bad, she's playing an unlikeable cow that Agent Smith should slap around. Weird dialogue, bland action, and the only thing that can be praised is the relationship line with Titan. The worst, however, is the futile Simu Liu as the main villain. With his goofy expression and dumb smile, he's more laughable than scary. Ryan Gosling is a much better Ken

For a change, this episode showed some improvement as the Korean creators finally let the story progress, bringing in better entertainment. Sure, there were moments where I couldn't quite believe what Sang-ho Yeon came up with, but overall, I had a good time. Plum Blossom isn’t exactly the sharpest knife in the drawer, but hey, you can’t have it all. With all the major reveals out of the way, I'm curious to see how the creators will keep up the tension in the final episode. Guess I'll find out tomorrow!

For a Czech production, this is a very precise piece of filmmaking, nothing to be ashamed of internationally. The creators did an excellent job both in technical execution and in telling a story with a very original and well-developed idea. From the script, through the visuals, to the acting performances, everything is carefully thought out and executed. Thanks and keep it up!

I don't know! The film didn't particularly impress me and unfortunately, it didn't stand out in any significant way. The plot unfolded at a slow and unnecessarily drawn-out pace, which significantly detracted from its dynamics and overall appeal. Despite the creators' apparent effort to faithfully reflect the personality of the main character, the film lacked the necessary depth that would allow the viewer to relate more to the protagonist and experience their story. The tension, which should have been a key element, was missing, and despite some attempts to build dramatic moments, these efforts remained somewhat unfinished. Overall, I guess the story with the large pack of dogs just didn't seem very realistic to me.

This is a real success for German Netflix. The film stands out with its conceptual originality and surprisingly good quality of execution. The script brings an innovative idea that, in the context of contemporary commercial society where many strive for quick and easy wealth, feels quite realistic and relevant. Given the current boom in artificial intelligence and the expansion of technical fields, the film raises important questions about possible scenarios for the development of human future.

I was hoping the Koreans would give me the same thrill as the last episode, but this one just didn’t hit the mark. It felt like the creators tried to trick me into thinking it was packed with interesting events, but honestly, the story just stagnated. It was more like treading water than moving forward. / Lesson learned: If you don’t want to scare people, work on your appearance and manners. First impressions are hard to erase.

The main flaw of the third season is that I just couldn't buy into the idea that a family team, including one serious alcoholic, could outsmart the secret service. If they can, then the Brits have bigger problems than I thought! Still, it was a fun episode that stayed on its well-set course, so I enjoyed it. Now, I'm looking forward to a bunch of over-motivated "thinkers" in the next episode. / Lesson learned: Most people learn from their mistakes, but there are always exceptions.

What else to expect from Vojtěch Jasný, a man with a big heart, than a pure poetic film. The first thing that catches the eye after a few seconds is the rousing music by Svatopluk Havelka, which runs through the whole film. All four short stories are simple in plot, it's the atmosphere and visual experience that's important. In the first story, about a little boy waiting for his mother to arrive with his newborn baby sister, the camera conjures up beautiful images of wide meadows, billowing white sheets on a grassy hill, it's a visual delight. In the second story, the beautiful Jana Brejchová, the greatest young acting star of her generation, shines like a bright star, and it is her and the beautiful scenes of nature around the raging river that simply don't disappoint. The third story is probably the most ambitious in terms of plot, it’s about unfulfilled love at first sight, but under the surface Jasný lightly sketches the contradiction between the agricultural cooperative and the simple peasant woman who feels intensely they are bullying her. In the fourth story, an old mother and the sad eyes of a dog play a major role. So sad it almost smacks of kitsch, but beautiful. Essential, clear. And as the film begins with the birth of a human being, so it ends, the circle of life has come full circle.

A more melancholic and weepy version of Me Before You in the lower middle class. Javier Bardem is excellent, there are some great ideas and some interesting dialogue, but it's primarily the strength of the premise and its existential overtones than how it's executed. The love triangle was like something cut out of a soap opera in places.

Go figure! The third episode managed to avoid the issues that bugged me in the previous ones and had almost everything I'd been missing. I finally had a great time (despite a few minor flaws) because the story actually moved forward. The plot was interesting, the Korean creators added some nice tension and another does of that gloomy atmosphere that’s been there from the start. / Lesson learned: Since it’s clear who didn’t do it, it’s time to find an actual culprit.

The way the Korean creators translated this story into moving pictures isn’t quite working for me. Sometimes it's fun, sometimes it’s just chaos. What really bugs me, though, is how the flashbacks are handled. Thankfully, I can keep track of the characters; otherwise, I’d be completely lost. My relationship with the series is lukewarm at best, so all I can do is hope it gets better. / Lesson learned: Korean shotguns apparently don’t make as much of a mess as Western ones.

The plot unfolded exactly as I anticipated, but the twist that followed caught me off guard, and that’s definitely a good thing. This was the most interesting and funniest episode of this season so far, even if I probably didn't enjoy it as much as the unpleasant (yet perfect) Jackson Lamb. Overall, it’s shaping up to my satisfaction. / Lesson learned: Accept the blows of fate (and life) with pride and resilience. 4*+