Nouvelles critiques - Tous les utilisateurs·trices

The creators didn't exactly impress me with this opening episode — it was pretty awful. The Tatra Mountains were nice, and the fog helped create a decent atmosphere, but that's where the positives ended for me. As a crime drama, it didn't work. I was baffled by the disregard for basic investigative procedures and chain of command. At times, I just stared blankly at the screen, trying to figure out why the creators made such poor choices. However, as a guide to the Tatras, it was somewhat enjoyable.

Incorrect, caustic to sarcastic humor, crazy situations, and above all, entertaining characters that quickly draw you into the world of illegal bookies and their clients with varying degrees of gambling addiction. If you ever had any illusions about the human species, you'll quickly forget them under the influence of what you see. It's mostly about human weaknesses and money, but now and then it gets grittier and becomes a matter of life and death. No mercy is shown for people at the bottom of society or for making corpses, because it's a dirty business and Ray and Danny certainly aren't small players with a pitiful nature; they wouldn't survive in that cruel world. Cold-blooded pragmatism, calculation, and ingenuity are what keep the successful duo on course, while their dangerous opponents meet an ignominious end. I enjoyed every episode and firmly hope that the second season will maintain the high standard. Overall impression: 90%.

The influence of Tim Burton is evident; at first glance, the slightly morbid and quirky artistic aspect of the project influenced by the Gothic style stands out. A major plus is the casting of the interesting and charismatic Jenna Ortega, who seems to have been born for the role of Wednesday; she perfectly fits the role of an eccentric, captivating outsider and enjoys her role, rightfully dominating the series, and giving it a "spark." The project is limited by a screenplay that clearly indicates from the beginning that the target audience is teenagers. While in the first half there was more appeal for other age groups and I enjoyed the episodes more, the second half emphasizes its commercial nature for "teens," and the descending impression isn't saved even by the finale. Nevertheless, considering Ortega's constant presence on set, I have no problem justifying giving it a fourth star. Overall impression: 75%.

The initial reviews likened it to "something like Fargo, set in the middle of the Australian desert," and I would say the creative team aimed for something similar. However, The Tourist didn't come close to Fargo's model due to an underdeveloped screenplay, which, while it introduced some interesting ideas, failed to effectively execute them. The key to the success of the Fargo series was meticulous, almost ant-like work with characters, emphasis on impactful yet convincing detail, and a willingness to explore unconventional paths. The problem with The Tourist is its superficiality, inconsistent handling of motifs, poor character psychology (for example, the charming schemer played by Shalom Brune-Franklin is unbearable), and the team's inability to give the show its own distinctive identity. Two storylines have potential: the search for identity after memory loss and, especially, the romantic subplot of building a relationship between the mysterious tourist and the inexperienced policewoman played by Danielle Macdonald. However, the writers fail to give them proper priority and care. Overall impression: 40%.

Imaginary friends will be most appreciated by those who had an IF in their childhood, only to forget it later under the wave of adult responsibilities. It can also appeal to child audiences who will like the peculiar characters of the IFs and the whole colourful world. A world that seemed a little underdeveloped in places. Cal's background wasn't surprising in the end, and for a viewer who has already seen more than one film, it will be clear from quite early on. There are a number of films about coping with the loss of loved ones through various fantasy planes or realities, and IF takes a fairly low-key approach to the subject, but within that theme, the films that appealed to me more were those that went into more dramatic depth, like A Monster Calls or Bridge to Terabithia.

This Czech interpretation of true crime succeeded. The subject was easy to choose because the Stodola couple became legends of criminology years ago. Director Petr Hátle relied on a pair of actors who are fairly new. Jan Hájek has directed plenty of average things, and Lucie Žáčková is also a much more prominent theater actress than one might think from her film and television casting. Therefore, I hope that the film will help both of them, as it is mainly thanks to them that the Mr. and Mrs. Stodola is a significant film event.

The most mediocre and classic mainstream horror genre film that can possibly be made for the least discerning audience (teenage girls). On the one hand, I appreciate that the whole movie isn't just haunted by one boogeyman, but every single protagonist has their own demon and they surprisingly have great make-up effects, so all those scenes are relatively fine. It's a shame that there's no gore, because if if the film had been conceived of it as a fun bloody killing spree it would have been better; this way they rely on ineffective scares and a not very effective atmosphere. Too bad. Visually it's fine, but the story is the most basic and you don’t get to form any relationship with the characters. Pure 50%

If you like this series, if you liked the third part, you should be satisfied here too. It's not a significant shift in quality, it's just a standard solid action comedy, where the mutual banter between Martin Lawrence and Will Smith works, but above all it's pulled by well-done action, which at times takes your breath away. Adil el Arbi and Bilall Fallah know their job. There are nice Miami visuals, a decent bad guy played by Eric Dane (Euphoria), decently brutal R-rated action with engaging camera forays, top visuals, some twist and turns and working one-liners. The whole film paces well with no deaf spots and it's exactly the right action entertainment that's missing in cinemas and you can take anyone to see it. If you expect a film with a well thought out plot, you won't be satisfied here, but if you know what to expect from a film, you can't be disappointed. 8/10.

If viewers were to vote on the attractiveness of both previous seasons, the second season would easily win. Not for the quality of the scriptwriting, which is noticeably weaker, prone to issues, didacticism, and schematics, but for the attractiveness of the subject matter, which this time revolves around human sexuality and romantic relationships. The series plays with stereotypes prevalent in society regarding relationships between both genders, breaking some, accommodating others, flirting, maneuvering among actors often involved in cynical and cruel relationship games, which have little to do with the romantic ideal of love. Everything is set in the attractive environment of a luxurious resort in Sicily, surrounded by the scenery of wild cliffs and a town with a thousand-year history. In terms of acting, as expected, top-tier talent is involved in the project. Aubrey Plaza surprised me; I had her fixed as a typical actress with a specific sense of humor - yet she is capable, given the opportunity, of shining in a character role. Out of the five storylines, two suffer from scriptwriting mishaps, especially the one with the self-centered Tanya is pure bullshit, where Mike White, in pursuit of the goal, resigns on the logic in the characters' actions. But the production quality is undeniable. Overall impression: 85%.

Il a fallu que j'aille jusqu'à Dresde en 2024 pour voir ce film tchèque de 2002 :-D Ça fait sens et ça devait être mon destin. L'expérience a été d'autant plus marquante que j'ai pu voir Rok ďábla dans un petit cinéma situé dans une ancienne usine, un exemple de projet que nous connaissons aussi chez nous en Tchéquie, par exemple à Ostrava ou à Zlín. J'ai eu l'heureuse surprise d'apprendre que ce cinéma organisait une fois par mois des « mercredis du film tchèque » où des films de notre pays sont projetés, et c'est ce qui m'a donné la chance de voir Rok ďábla. Je me suis rendu compte que des œuvres de Petr Zelenka, il n'y avait que ses deux semi/pseudo documentaires musicaux que je n'avais pas vus. Les spectateurs allemands riaient bruyamment et je riais avec eux. Pourtant, l'humour parfois absurde n'est pas toujours facile à capturer dans la traduction. Les chansons entraînantes de Nohavica, par contre, se passent de traduction. J'avoue mal connaître l'œuvre et la personnalité de Karel Plíhal, mais à en juger par ce film, il semble être une personne très étrange. Difficile, cependant, d'évaluer ce qui est fiction et ce qui est réalité à son sujet, et j'ai pu confirmer à ma collègue allemande que Plíhal vivait toujours et que la combustion spontanée et les funérailles étaient fictives.

L’histoire autobiographique d’un jeune Sorrentino ? Un beau film sur le passage à l’âge adulte et sur l’effet d’une terrible tragédie familiale sur l’adolescence d’un jeune homme. Dans la première moitié, même les querelles et les frictions entre les personnages sont allégées par un humour typiquement italien, et le film offre une vision sympathique d’une famille de banquiers napolitains avec des personnages et des moments drôles. La seconde partie du film capture avec justesse le vide et les tâtonnements d’un adolescent contraint à l’indépendance, sans le soutien et l’amour de ses parents. Sorrentino avec une histoire clairement compréhensible, sans fioritures métaphoriques ni excentricités visuelles. Mais aussi avec une histoire cinématographique globalement éculée.

Une aventure hollywoodienne bien ficelée, avec des personnages de singes bien construits grâce à un rendu numérique parfait de leurs expressions faciales. Et un scénario riche en rebondissements dans un cadre magnifique et varié. Ce n’est que vers la fin que certaines choses n’ont plus de sens, par rapport à la narration minutieuse qui précède et à la construction des relations entre les personnages ou à leur comportement logique. C’est comme si on n’avait pas eu le temps de peaufiner les dernières pages du scénario.

L’histoire de Furiosa et de sa vengeance annoncée, associée à un aperçu plus complet de la Citadelle, est plus riche sur le plan dramaturgique que la course-poursuite sans fin de Fury Road. Pourtant, le film n’est guère émouvant, même dans ses scènes les plus violentes ou dans ses allusions aux sentiments. Et surtout, il n’y a pas Tom Hardy. Mais le personnage de Furiosa, qui a été façonnée dès l’enfance par la violence, l’inhumanité et la laideur, constitue une force motrice suffisamment puissante, la dynamique du film est incroyable dès la première scène, et les masques et costumes insensés, ainsi que les éléments visuels et les détails qu’ils contiennent, sont absolument stupéfiants. Un sommet cinématographique en matière de scénographie et de création d’un monde fantastique original. J’ai cependant eu du mal à croire complètement à Chris Hemsworth dans le rôle du méchant fou.

Even I, a seasoned viewer, was taken aback by the level of brutality depicted. But hey, life isn't a fairy tale or a Marvel comic, right? If you hit someone with an axe or a blunt object, it's not going to be pretty. A sensitive soul might have serious issues with this film, but the reality is, as long as there are people who take pleasure in hurting others, we should get used to such scenes. The laws are pretty lenient towards such scum. I thoroughly enjoyed this gritty dive into Trójmiasto, although it left a little to be desired to earn those five stars.

Au risque de me répéter : la meilleure chose dans ce film est sa chanson-thème, ce qui n'enlève rien au fait que ce troisième volet m'a plus enthousiasmé que le deuxième. L'humour est toujours présent et Vanessa Hudgens y fait son apparition, même si son rôle est assez restreint. L'intrigue mexicaine n’est pas mal non plus.

The first Shazam! was a pretty nice and unpretentious flick, but Fury of the Gods, unfortunately, flirts with moments of awkwardness for a noticeable part of its running time, offering a predictable and overly instructive story about the importance of family (and no, it's not another Fast and Furious). It also has reprehensibly overlong running time and, at times, rather poor CGI. Fury of the Gods wants to be fun and brisk, but it fails badly. In this case, I'm not so sorry that I didn't catch the film in the cinema and watched it in the end thanks to Netflix.

I'm definitely not a fan of spiders, but my curiosity lured me to the cinema to see Infested, as I have a bit of a thing for animal horror movies (about overgrown crocodiles, snakes, boars, sharks, etc.). Sébastien Vaniček's film impresses with a soundtrack I would have expected in a film about drugs or the mafia rather than deadly eight-legged creatures - though drugs are often mentioned. As far as the action-horror level is concerned, it works on the whole; here I would highlight especially the scene with the flashing corridor, which gave me solid goosebumps. But the overall experience is noticeably marred by the characters and their actions, it was really hard to root for them to escape the "web of death".

I thoroughly enjoyed Fury Road in the cinema nine years ago and, to be honest, I don't know if I've ever seen a more action-packed film. Furiosa raised great expectations in me precisely because of that cinematic experience and also because of the female lead. After watching it, I have to say that I was probably expecting a slightly different film, but I don't mean that in a negative way. Furiosa is again full of brisk action with imaginative choreography – this is especially dominated by the tanker chase scenes and the confrontation in the mine – and tries through a kind of "biblical plane" not to be just a pure action film. I was surprised to see Anya Taylor-Joy arrive on the scene relatively late, and I would fault the film for having too tidy an ending for my taste. Still, this is a high-quality audiovisual spectacle that would be a sin not to see on the big screen, where it certainly belongs.

Oh so this is not going to rank with this year's New French Wave and there was a lot of faith in Xavier Gens, who could have saved the eco shark horror after a long time, but who hasn't come up with a quality genre film in years, and instead of a proper shark carnage, he made a sort of activist eco drama? WTF! I don't care that it's stupid and nothing makes sense, but the fact that the shark only appears properly after an hour and the whole time it's just bullshit activism, Gens shat his bed here. For an hour absolutely nothing happens, I don't understand the focus on the story, which nobody cares about anyway, the characters are completely useless, the whole thing takes itself too seriously, so it's unfortunately an incredible bore, which could have been saved by lightness and gore, but even that is lacking. The final 20 minutes didn't offend me, finally something starts to happen and finally the shark shows up, which is digital, but it's honestly the least of the problems here. Next time please another Frontier(s) instead of not these experiments. A big disappointment, but for the finale and the inoffensive underwater shots, at least two stars. 3/10.

A bit of a disappointment for me, but that's due to the film's premise, which lured in a serial killer who cuts off women's lips, and I was expecting a gritty Hannibal-style murder mystery, and it really didn't. The murders are at most just talked about. I was expecting it gritty, unpleasant, raw and brutal and I found it very light even for the Poles. I didn't care for the final twist. I didn't enjoy it much, didn't like the style the film was going in and it has few attractive scenes. 55%