DaViD´82

Some people say that it is the best show about cars. Some say even say it's the best show ever. Personally, I wouldn't go that far, but it's true that the May trio (because it was only 50% before May came) / Hammond/Clarkson and their insidious producers made something that attracts admiration. They turned the show about cars into an unprecedentedly playful entertaining show for overgrown children with overgrown children, in which it doesn't really matter what (if any) cars mean to you. Everything you did with your toy cars as a child these three guys do also, but with real ones. And when I say everything, I really mean it, including dinosaur races, playing football with cars, assembling your own car, contact races of the airport vehicle fleet, destructions, explosions, flying caravans, etc. The only thing that is really surprising is that such a great show which is one of the craziest and daring shows ever, so stubbornly insist on unchanging and obsolete format, when they interview the celebrities and what cars matter to them, after that we stare how the celebrity is (un)able to drive a then we just twaddle about their place in this competition. This is something that should have been removed long time ago. This is something from the department of the Czech talk-show Nikdo není dokonalý (Nobody is Perfect) or something you would expect from the radio but definitely not from one of the most dynamic shows ever. And what is even more startling is that the BBC didn't take advantage of the fact that the original trio left and didn't change the content nor the format of the show. The only thing they got by doing this is that now it´s even more obvious that the new hosts are everything but not funny and it's clear they don´t have the same passion for cars and don't mess with each other in the same was as the original trio did.

A mediocre and the worst season so far (because it’s badly written), saved at the last possible moment by the double final episode, which on the other hand is one of the best ever, which, considering the quality of memorable episodes from previous seasons, is no small feat.

The fact that this is a pure marketing sequel in order to launch a merchandising tsunami (mimiDora, as the cutest small fish of all time, is directly asking for it, and I am surprised that my son did not want me to buy a him fish on the way from the cinema) and not a sequel made to say something new about the characters/the world (and such sequels were never unfamiliar to Pixar), so it's not bad at all. Mainly because it is basically the same like two peas. The main downside is Dory herself, who works great as a supporting character, but much worse as the main character, as you will quickly become tired of her energy and forgetfulness. However, she is backed by new characters, especially Hank the octopus. In many scenes he is the only main driving force that is pulling strings. It will pleasantly surprise you how well it works in terms of emotions. Which is balanced by the unnecessary escapade final rescue action and the Marlin/Nemo duo, who are here purely out of duty. Watching this is like a torture, especially how the creators forcibly incorporate them into the center of events and at the same time sideline them throughout the whole footage.

Icelandic royal bastard of the ambitious British series Fortitude. The mutual similarity goes so far that at the time of all those western remakes of serial Nordic noirs, one would somehow expect the British to just take over. The striking similarity (style, themes, characters, atmosphere, etc.) cannot be purely coincidental. And Iceland wins this battle, not undisputed though. What works in his favor is the fact that the real Nordic depersonalized cold gloom does look more natural and somehow more captivating, namely intrusive cold, whining winds, snowy wide distances, rugged fjord, rising sea... No, this series is packed with impressive genius loci. His second big ace is that he cast a silent bear who "sometimes grunts" and is tortured by inner demons with an unresolved personal life in the lead role. Perhaps the most clichéd possible archetype of Nordic crime movie, however, is presented/performed here in such a way that a nicer guy would be really hard to find. Perhaps only Skarsgård's River has such a degree of empathy River. Undisputed weak points include another of the hallmarks of all Nordic noir, namely unjustifiably overcomplicated things and, despite it, the excessive transparency of it all, which however, it is largely given by sympathetic civility in motivations and actions. What would help is would be to make it shorter by removing on episode (not particular one, but in each episode there´s at leas one padding scene). Despite all of this, I'm very happy about the series and no matter how traditional Nordic crime brings all the weak and strong points that it entails, the distinctive Icelandic nature is still kind of fresh compared to especially the Danish similar movies.

A hodgepodge, which is not even bad enough to be ridiculously amusing in its unwanted stupidity (albeit flashy visuals or magic neon run style with bloody menacing glances, fingers ominously tapping and you can hear whispering something like "blablagrgrplopplopouch" are dangerously close to it) and at the same time it is not good enough to stand without any objections as a quality genre and not just as a video game B-rate movie pretending to be A-rate. Basically, when panoramas are being shown, the characters shut up and fight in a way that "someone randomly dies", it works well. In other words, yes, it works especially if it's essentially a variation on animations, as we know them directly from Blizzard. Despite how seriously it is taken, it also works in orc scenes, in which this is exactly what the movie Warcraft as a whole was supposed to be. But from the Alliance's point of view, everything is pure hell. In addition, in every second scene, it's more than obvious that the footage has been shortened a lot (some allegedly by up to forty minutes), but paradoxically it is not to the detriment. What is obvious is that the footage was shortened mainly due to removal of piffle. I mean what is like a torture when watching film adaptation of Warcraft. Even so, there is still more piffle than would be appropriate. Overall, it has vast potential, interesting story lines, decent battle scenes, sympathetic uncompromisingness of the main characters, but it also has C-rate dialogs, awkward actors (the real ones look like without life compared CGI orcs), appalling (however based on the original) stylization and gala show of the most original and ridiculous clichés from the department of "fantasy for losers".

130-min footage is treading water in terms of genre. Moreover, it´s treading the same water that hundreds of movies already did before (literally, Enfield has already been portrayed before) and in the same style and in a better way (and also in a worse way, that´s for sure). Wan knows well what he is doing, but he still was unable to reveal scary scenes too early (which is his long-term and recurring weak point), so instead of being frightened to death you are only surprised that you are supposed to be scared. On top of that, the running time that includes a lot of padding is simply way too long. Another weak point is that movie is too flashy and some scenes are just randomly put one after another. Thy only thing what is missing apart from demon, scarecrow from a nursery thyme, obsessive child and poltergeist is clown, Ash with a chainsaw or Ghost Busters. On the other hand, in addition to the excellent craftsmanship, it´s well-paced and has several brilliant scenes that still keep the whole thing afloat. So, as a result it´s Wan's standard, only this time much longer and honestly, when did you see a continuation of a scary movie in the movie theater, which despite all its weak points was also a quality film?

It's a shame about the beaten-down pique between the opinionated and powerful German factions, because otherwise, though somewhat slavish and cut-down on the production design, this is still a solid adaptation (thanks mainly to the cast) of an excellent easygoing novel.

The adapted original is based on "real" exorcist horror movies of the 70´s, and the series adaptation seems to be based on the same that is, the characters (great cast of Glenister and Fugit and perfect setting in the middle of nowhere where everyone knows each other) and the captivating, chilling atmosphere of tangible concern. On top of that it´s packed with Ross's (anti) musical accompaniment. So far, the introduction rather promises big things than delivers them but it still has the right atmosphere, uncompromisingness and undeniable genre potential. So, there´s a lot to be excited about. That´s for sure.

Olivier Marchal, David Ayer, Shawn Ryan, James Ellroy and, last but not least, Don Winslow are the big names of dirty harsh criminal movies about corrupt police officers in the movies/series/literature. And with this feature-length debut, Matt Cook enters the same room with them. He lags behind but only a little bit. Yes, it has such potential. It's a pity that it´s conflicting with Hillcoat's concept, because chose the wrong pace of narration. Considering how much is happening and on how many levels, it gives you feeling that it´s way too lengthy. I´m not saying boring, not at all. But this movie was supposed to be an adrenaline-fueled ride driven by inner tension and not a slow-paced something that looks like nothing is really going on. But even that being said, it´s exceptional in terms of genre. And even more considering that similar movies were almost exclusively made as series.

"Political procedure movie about the first year of the presidency of the controversial Lyndon B. Johnson he took office after the assassination in Dallas, when he struggled with behind the scenes plotting inside his own party, was scheming in order to seek support across the political parties while enforcing one of the US most reform laws, was working for re-election in regular elections, declared "war on poverty". When a massive wave of civic protests surged he negotiated with obviously racist South, not obvious racist Democrats and Republicans, Hoover and the civil rights movements around Martin Luther King, and on top of that the conflict in Vietnam slowly but surely escaped the attention of everybody. Although largely about the black-and-white question, not black-and-white in the depiction of the time and characters. One cannot shake the feeling that Johnson served with his many steps and his political "the end justifies the means" way as a forerunner of Frank Underwood, and not just in the sequence, where he makes friends with everyone with an American smile on his lips. Those who don't mind intimated dialogs that doesn't have to say everything openly and that relies on the excellent performance of great actors (Cranston finally has the role of "White/Heisenberg importance) who can do without big gestures, it would be shame not to watch All the Way. There has been a lot of good movies in this genre department in recent years, but almost exclusively in the department of television series and not so in the film (albeit television, even if it's HBO) backyard.