DaViD´82

The potential of the scheme "Red Dead Redemption MMORPG by Philip K. Dick" is unprecedented, but still suffers from excessive exposure. Because most of the time only future great events are implied and the world is being explored including its specific rules on the spot and behind the scenes, so as a result there is somehow no necessary space for the characters themselves. In mostly badly affects the living characters, which are sadly too one-dimensional. In any case, this multi-layered moral reflection is so well played out and captivating that the viewer will dive deep into it. I'm just wondering if the short story form à la The Black Mirror wouldn't fit more, because the power of these themes is based on how each viewer will approach them deep inside. Thus, only time will tell whether the creators will deal with this pitfall with honor or whether they will keep repetitively doing the same all the time.

It’s good to know that dysfunctional families and caring grandmothers with freezers overflowing with cheap long-ago expired food are the same in Japan as well as in the middle of nowhere. Koreeda again approached in a traditional civilian way and with a theme that eleven out of ten directors would not have been able to do without emotional blackmail or at least some cliché. But this doesn’t apply to him. It is a pity that the silence before the storm is far too long (however not boring), given that the "storm" itself is too short.

Marvel and Netflix blaxploitation in the form of an excellent miniseries (with an excellent soundtrack), which is, however, to its own detriment sadly fragmented into thirteen-episode format. Especially the second half has poorer quality and is based on to excessive level that does not correspond to the first half. Although Cage and Misty can drive the movie in many weak moments, but they noticeably lack a good opponent. The bad guys are not explicitly only a makeweight without potential, but they are either insipid (Cottonmouth) or conceived in a way I don’t like (Diamondback), let alone when backed by Fisk and Kilgrav. It's definitely not bad, but it's the weakest (albeit still decent) movie of "Marflix's" television universe.

Where the original version is now acceptable only through nostalgic and really strong pink glasses of someone who grew up watching this, the modern version is of so high quality and packed with everything that you can watch (our children would make a nice excuse why you watch it) it without any harm, and in some scenes (especially the conscious meta-dada fantasy animated series about Crognard, which Mikey watches in every episode) and you can truly enjoy it.

Hokum. This word describes it best. However, entertaining and well-paced, where the viewer is flooded by some many jokes, gags, off-the-wall things and ideas that he does not even have time to realize which are good ones and which aren't. The great thing is that the creators manage to balance on the edge of entertainment that entertains the youngest children, but does not forget their older entourage. And it mostly go hand in hand and not in a way "now gag for adults and now some escapade for the kids". Typically "satirical" scenes about parenting, busyness or a corporate career, in which, however, some animal making faces or falls somewhere. As a result, both children and parents are laughing together. Moreover, thanks to episodes from the life of a boy "who wanted a ninja brother to play with", it also has an emotional impact, which one would not even expect from such a grotesque farce without plot that is based on never-ending escapades. Moreover, neither the voiceover (which is successful) nor the translation that someone obviously clearly enjoyed (the son of an employee!) spoils the parental duty to take the kids to the movies.

The title makes the film a disservice than anything else. For example, many viewers would have taken it better to call it "Fast and Brisk", and without the inevitable (whether greater or lesser) disappointment that the duo of absolute classic movies of the silver screen, which have survived and will survive for decades, is remade in the form of an disposal relaxing movie that will soon be forgotten. On the other hand, there is the not inconsiderable fact that although it is a western second-rate one-time watch, it is a surprisingly fun and properly driven Western second-rate one-time watch, which is not afraid to use the screen to the fullest. In other words, it is consumable and unnecessary, but not bad. And in purely genre moments (graded tension before the first big shootout, etc.) it will keep you entertained. That´s for sure.

No excuses, no messing around, only sensitively dosed pathos and no clichés. Through a cleverly constructed structure the movie doesn't beat about the bush, in other words it directly portrays the conflict of a man who while flying the aircraft without engines failure accomplished seemingly impossible and who is subsequently, under the pressure of others, begin to doubt whether by chance what he did, on the contrary, was not the worst possible solution and unnecessary bravery. Hanks proves again that he has no competition overseas when it comes to the box of "ordinary good guys next door". It hit the bull's-eye and is gripping at all times, during the freezingly calm and controlled crisis landing itself, in the moments of the beginning of panic and after it, during the intense questioning in front of the commission and during the self-searching wandering through frozen New York. Although it might seem like a Zemeckis' Flight at first glance, it is much closer to Greengrass’ United 93.

Finally, someone thought about the parents when creating this extended padding. So yes, it tends to target younger audience and in terms of quality and ambition it's miles away from the original film, but the creators obviously enjoyed it and felt sorry for the adults who have to watch it with their kids and that's how they conceived it in a real meta-crazy way on a (self) parody wave, where there is a reference in every scene (and mostly not bad at all). References range from Casablanca to Leone to other Disney movies. On the one hand, thanks to that, adults will also have fun, but at the same time in terms of the overall style it is quite obvious that the target group are pre-school children, on the other hand... I wish most of the x-th famous video rental movies were just like this one.

My son and the rest of the children in the movie theatre were screaming in excitement, while the adult audience did not have a hard time watching it, but just sit through it without any harm. In the opening fifteen minutes packed with gags, they even had a great time. But then the creators run out of ideas (and also effort) and switch to routine mode of a hundred times seen squeaking escapades with animal for the little ones, where the better moments are shamelessly stolen from other animated movies, namely from Toy Story to the full-length Sheep Shaun. The biggest stumbling block, however, is that in that excessive number of characters/advertisements for the plush toys only two characters have personalities (and therefore interesting), the rest of the characters have wasted potential (for example, the predator is basically the same character as Hank in Dory, but apart from his opening scene is only a makeweight).

As a space opera, it's more in the department of Mark Stone than "intended" Star Trek (only introductory ten minutes are in line with the latter one), the pace is furious as in the blockbuster movie and it's packed with action, but the action scenes are way too confusing, and so paradoxically the movie works best as a one-liner comedy, which is not taken seriously, not at all. And it helps a lot.