DaViD´82

What is surprising is that the episode for which the ground has been prepared since the end of the second season would worked in the same manner as the episode of Doctor Who. And what is even more surprising that the local "Saw storyline (with Fort Boyard dimension)" has already been used in Sherlock once. Only this time it´s much better. On the other hand, it cannot be denied that it is fun, it keeps perfect pace and it can be just as exciting as ridiculously emotional. And so, in the end, what is most harmful is the fact that in the final twenty minutes it will take three steps backwards, or several years of indicating, and the created fateful tension is completely wasted.

The only drawback of the first season, if any, is the pace. Which is a problem that persisted, and due to the higher number of episodes, it is more noticeable in the first half of this series. But the obvious week point is the big twist in the middle of the series. The twist alone as great. But it is used in the wrong place, i.e. too late. At that time, thanks to all those carefully fragmented hints, an active viewer (and a passive "I expect to be entertained" viewer Mr. robot is not really its target group) at least to some extent well see it through. It was supposed to show up at the end of the opening episode of the season. In this case, there would still be the necessary wow effect and at the same time it would allow much more interesting interpretation in the following episodes. So much for the issues and now let´s explore the strong points. Above all, it is necessary to praise the creators for not taking the easy and well-trodden path of the first season (however, it is true, sometimes they are unnecessarily treading water on this new path). The audiovisuals are even more refined and sophisticated (this time Esmail also directed all himself), Malek and Carly are a bit more impressive. Clever, conscious, thoughtful, slowly graduated, innovative. All this was truth and still is. As a result, the first episodes are weaker, but we can hardly consider it as a decline in quality. And considering the ending with which the creators had to work, that they had to do without one of the two biggest driving forces (story and performance) of the first season, that most of the season each character leads their own separate life (story line) and that this time episodic story telling was skipped, so the result is actually much better than one would expect.

There came a moment around the time I turned 70, when it dawned on me that I was no longer a participant, rather a spectator. A significantly extended with some nice padding Audience. Really opulent (in terms of scenes, set design, costumes, music), which does not change the fact that the best and strongest moments are undoubtedly still those chamber "theatrical" moments of dialogs between two or three characters. After all, it is conceived in such a way that many episodes are separate one-act dramas, thanks to which it is more about individual scenes or episodes than the whole. In any case, the series is distinguished in the best sense of the word (not to be confused with the emotionally cold), despite the theme of never black and white (anti) monarchist, abounding in magnificent dialogs enhanced by the fact that Morgan is interested both in status and dynamics of royal family and PM, cabinet, officials and servants and, last but not least, the contemporary political and social situation of (un) noble people of all classes. Normal people. Those come first and all the time. The exception is the third season, where due to the haste coverage of too much time in a hurry, ordinary people, stories and politics are forgotten to the detriment of the anointed. Which is a shame, but the following season made it up more than enough. | S1: 4/5 | S2: 5/5 | S3: 3/5 | S4: 5/5 |

Exactly the type of film that became the trademark of Spielberg's Amblin in the 1980s. And even though this ´s not an And even though this´ s not an "Amblin movie", it can keep up with them. At least at the beginning. There is everything from a small town, a purely children's view of things, nice kids, practical effects, Goldsmith's successful soundtrack (especially the main theme), of course bikes (without them it would simply not be possible) and... And above all, the unmistakable 80's atmosphere of a children's expedition for an extraordinary adventure. It doesn't have the same pace and progress as other movies of this genre, but it's definitely so good that one inevitably wonders why it's not a timeless classic like the others, and instead it's forgotten. And then the film moves into the second half, and all of a sudden everything becomes clear. Because the creators have largely stopped using the poetics of children's adventure film. It's still interesting, but not every good any more nor catching. The result is the message of an ambitious "like a children's art trip about the universe and the fifties of sci-fi second-rate movies", which on top has a cult conclusion, when Dante was forced to finish the film much earlier than originally planned and so, as an emergency solution he had to artificially change the opening of the movie and make it "slightly different".

I was expecting a visually striking duly filthy Gothic horror-styled chamber atmospheric depressive movie emphasized by Max Richter, which will seemingly be about nothing but under the surface you would feel a subliminal "Conrad" tension. And Hardy who is longing for revenge and plotting all the time will be growling from the very beginning till the end (and doesn't slip into a parody of himself), supported by British theatre star (especially by Jonathan Pryce, of course). Which is exactly what I got. The problem is that it has material for an excellent four-part miniseries and not for eight-hour monotonous episodes. Slow pace is not the main issue. The issue is that the creators completely fail to justify the length, but at the same time it cannot be said that you get bored. They still offer enough quality in each episode (apart from the above, there are several phenomenal scenes in each episode) to find a good reason to start another episode. The question is whether that is enough, especially when in the ending it gets exactly to the point that the viewer expects from the first episode.| S1: 3/5 |

An excellent family Spielberg horror that even children can watch. Well, I´m not completely sure. If I had watched this one at the age of six or seven, so I would have never been willing to sleep in my bed alone anymore. However, the film could have been much better if it had not been so intoxicated by the technical achievements and did not use effects only for effects´ sake, which today, however, inevitably seem ridiculous. What it lacks is timelessness and this disturbs the otherwise carefully constructed atmosphere. At the same time, when the creators are content with the murmur of television, the blue light behind the door, they sensitively know their parents about "Beast Behind the Curtain", a motionless clown toy by the crib (with an intruder poster in the background), Goldsmith's music. Practical effects or directly human remains, so it can be impressive even today. There is simply a certain contradiction in this, which is clearly seen in many aspects. This is most noticeable in the final half hour, when the regular final (Aťka Janoušková versus From beyond) and the closing take place. But instead of subtitles, the second part follows in the form of the second regular final, which, however, is made in a completely different mode. And both are excellent, although I much prefer the second one. The poltergeist should have been shorter, to rely less on "CGI" effects, and not to have such a noticeable discrepancy between Hooper's and Spielberg's visions. Even so (or because of that,) it is still a movie that you can easily find in every good ranking of the most important genre films. And there´s a clear reason for that.

It has its undeniable drawbacks (aptly described by many here), but it is also one of the better updates of the original (a neglected short story within the canon that gave rise to one of the greatest detective clichés). This time, it doesn't look like it's unnaturally incorporated into the action, but on the contrary, the whining padding (which works only thanks to the central acting duo) is built around it. The "(non) Sherrinford" conclusion is being heralded from the very beginning of the series. In this, unfortunately, it´s too easy to see Moffat and Gatiss through.

Most people have heard of Hamlet, even if they haven't seen it, because it sounds quite boring. So, what's it about? Well, I have seen it and it's about four hours long. Educational, explosive, deadly seriously funny, and in fact the most loving tribute to Shakespeare's legacy, which, for obvious reasons, brought them a lot.

A series safely riding the waves of a light dwarf above average, play it safe when none of the episodes is a letdown, but only one is memorable (as in the previous row, it is the third one). It thus makes us think of the golden age with something other than the prevailing nostalgia like the rest.

I completely and intentionally avoided having any hair for two decades. Not because it's a musical or maybe because of "display of long-haired guys" but because I once suffered watching a classic version. Which is basically a 90s, TV Nova pell-mell variety show where every single excellent but poorly arranged song was followed by at least two terrible ones (and of course poorly arranged too), moreover, the song was so obviously intrusively agitating that perhaps even the hippies would get annoyed. I never wanted to see it again, not even from Forman, though it kept bothering me "what the hell made him do this". After all, if I finally dared to watched. I would say that no other film proves Forman's greatness like this one. To be able make such a nonsense to have at least some meaning and as a result unexpectedly impressive story (you can read the original course of the plot on wikipedia), to focus only on (with one exception) performances, moreover not significantly stylized in terms of music, to change the order of songs, their singers and, in fact, almost everything, it is simply a proof that he could perhaps even transform Olmer's post-revolutionary works "into timeless classics".