DaViD´82

Unbelievable, mind-bending idiocy. Because of all the fast-motion / slow-motion sequences or camera fly-throughs, no space remained for characters, dialogs or anything remotely reminiscent of a story (not to speak of logic and laws of physics). So it’s really quite surprising that this is really quite watchable. And while it isn’t completely good, it is at least tolerable.

The three stars are not so much for the (non-existent) quality of the series, but rather for the nostalgia that surrounds it. It's impossible not to give at least an average rating to a guy who can build a working nuclear sniper rifle with a grain of sand and a tape measure.

Alternative title: What The X-Files would have been like if it focused on stories that don’t involve conspiration theories and didn’t change genre every episode. And, similarly to The X-Files, this rather (or perhaps absolutely) depends on each separate episode. The individual episodes are all horrors we have all already seen, but they work, albeit at the beginning the urban legend structure is so similar that all the episodes seem almost identical. But if you have the patience, believe me, it gets better. But not very significantly. This applies to the first season, so far the second is just getting going and it’s better and “more variable".

Munich definitely isn’t controversial (if you’re not a fanatical supporter of either side), it doesn’t say anything new, nor does it dive into the depths of the Israeli-Palestinian conflict. It just scratches the surface and the characters talk about home. But that doesn’t mean that it is a bad movie. Quite the contrary, and because Spielberg chose (for him) an unusual method of expression (it actually seems that the movie is “controlled" Kaminski’s camera), it’s pretty fascinating. The authors also expect at least some basic knowledge about the topic from the viewer, therefore they don’t explain a lot of the names or acronyms, which is good, since the movie doesn’t treat you like a toddler.

Amazing in the first hour, with lots of powerful scenes (like the one on the roof of the school) and bordering on genius at times. But then, as if a switch was flipped, the direction and atmosphere change and suddenly it falls "only" into the realms of an above-average and unconventional film. Which is also good.

The extremely successful climax to Park’s trilogy (or tetralogy, if we include his short in Three... Extremes) about revenge. As in the preceding movies, we look at revenge from various points of view and completely differently. But what stays the same are the brilliant actors, the great technical aspects, especially the camerawork and the music, and more than one scene that remains ingrained in your memory for long after. But why sing the praises of Park Chan-wook over and over if it is absolutely redundant to do so? Because this “episode" is no better or worse than those that came before it. With such constant quality, it is up to you which episode you think is the best. This one doesn’t happen to be my favorite, but so what?

An originally approached topic which is intriguing and, most importantly, cleverly and successfully combines chilling scenes with an ironic, jet-black-noir satirical detachedness. Of course, here and there, faults are to be found, but the positives easily outweigh them and mainly this is the type of picture which, in addition to entertaining, force you to think and it remains with you long after - which means a lot.

Average in every respect. The beginning is quite promising, but unfortunately it quickly gets into a very sleepy rhythm from which it never gets out. It's not downright bad or boring, but it doesn't grab you, it just flows. If a wanted a proper thriller of a seemingly similar nature, I'd go for The Negotiator.

The first story in the series about Wallace and Gromit, and the genius of Nick Park is already clearly evident. That said, this episode is one step lower in quality (not only animation) than the later ones.

It’s a shame that when a TV production at last looks at least passable in technical terms, it is killed by an absolute lack of any story. There is no obvious introduction here and, where elsewhere all that is needed are three sentences at the very beginning (“Once upon a time there was a kingdom where evil reigned and a kingdom where good reigned..."), here the same takes up almost a third of the entire running time. The trouble is that even after that, nothing at all happens and the entire screenplay acts like a surefire cure for insomnia.